Types Of Nostalgia Research Articles

ВИЗУАЛИЗАЦИЯ СОВЕТСКОГО ДЕТСТВА В РИСУНКАХ ЕВГЕНИИ ДВОСКИНОЙ

The author explores ways to visualize the everyday life of the Brezhnev period’s soviet childhood in a Eugeniya Dvoskina’s drawings cycle «#forthosewhoremember». Comparing the artist’s work with other modern visual nostalgic projects, the significance of the selected source is justified: this cycle allows us to give an idea of the visual environment of the child, typical kinds of the children’s territory, public and private areas in the collective memory of the generation. Based on the methodology of visual sociology (P. Shtompka, O.V. Gavrishina), the author analyzes the reasons for the cycle’s perception of the older generation as uniquely “Soviet” and raises the question about markers of “Soviet childhood”. The universality and heritability of many children’s practices makes them timeless, so the design of the material world and symbols of Soviet ideology are main signs of the historical era. Compositional and graphic solutions of images play an important role for the viewer’s perception. Knowledge of nature and artistic skill allows the artist to create heroes with accurate behavioral characteristics and evokes, in addition to visual, almost all types of sensory memory (tactile, motor, audio). The use of accompaniment text, often in the form of speech formulas, is crucial for this effect. If we consider this cycle in the logic of S.”Boym’s reasoning about nostalgia, drawings about soviet childhood can be attributed to the procedural type of nostalgia, which is characterized by irony and contradictory attitude to the past. Eugeniya Dvoskina’s work provides a complex multi-faceted visualization of the everyday life of Soviet childhood in the 60–80s of the XX century.

The role of nostalgia in retro sewing

This article explores the role of nostalgia as a motivation for retro sewing and the ways in which nostalgia shapes the practices of retro sewing. Retro sewers circumvent typical models of clothing consumption by opting out of the commercial fashion cycle, and instead creating clothing for everyday use that replicates or is inspired by styles from the past. As such, the practice of retro sewing is inextricably linked to one or more of the many forms of nostalgia. Previous studies on consumers and nostalgia have not considered the full breadth of how consumers interact with nostalgia. This article explains what types of nostalgia motivate the practice of retro sewing, using qualitative analysis of interview data collected as part of a larger study. Forms of nostalgia that motivate retro sewers include both connecting with the past and using the past in the present. Retro sewing is often motivated by an interest in history and personal nostalgia for childhood and family. Some retro sewers would like to live in the past, whereas others prefer to enjoy past fashions in the present. Retro sewers value aspects of the past as useful tools in the present; they collect and consume vintage items, maintain knowledge, refer to history as a guide for the present and future, and use and reinterpret aesthetics of the past in their clothing. Methods used in designing and sewing retro clothing vary depending on which types of nostalgia are most salient for the retro sewer for any given project.

Thomas Pynchon and Paul Thomas Anderson’sInherent Vice(s) and the Affective Politics of Nostalgia

AbstractThis essay examines Thomas Pynchon’s 2009 Inherent Vice and Paul Thomas Anderson’s 2014 adaptation of the novel. These works are closely connected, and can be effectively viewed as two parts of a single transmedia text which includes a novel, a film, and two trailers. All of the constituent parts of this meta-Inherent Vice are informed by their engagement with nostalgia. Yet it is precisely here that the texts diverge from each other most markedly, activating different types of nostalgia for different purposes. While much contemporary scholarship relies on Svetlana Boym’s reflective/restorative binary to conceptualize the phenomenon of nostalgia, this reading argues that a public/personal divide offers another perhaps more appropriate lens to view the differences between the two versions of Inherent Vice. Pynchon’s novel emphasizes the political potential and social aspects of nostalgia, while Anderson’s film focuses on its personal, affective impact.

Going home again?

Since its release in 2004, World of Warcraft (WoW) has regularly changed the game and the play experience in significant ways. Recently, Blizzard, the developer of WoW, announced the upcoming game WoW Classic: “an authentic, Blizzard-quality classic experience”. Drawing on interviews with adult WoW fans and gamers, the article examines the game as an ‘affective space’ (Hills, 2002) of fandom that cannot be separated from the fan narratives and experiences it mediates. A key component in this affective space is the notion of fan nostalgia. The nostalgic relationship between a fan and a favourite text is often imbued with an imagined history, conjoining aff ect and meaning, belief and knowledge, and making nostalgia “both a way of knowing worlds – and a discourse of knowledge” (Radstone, 2010, p. 188). The article traces diff erent and often contradictory modes of fan nostalgia connected to WoW, such as tactile feelings of technostalgia (Bolin, 2015), deeply personal and anchoring types of nostalgia in the form of totemic objects (Proctor, 2017), manifested through fan practices of collecting digital items and souvenirs (Geraghty, 2014), and interwoven with desirable and appropriate self-identity and self-narrative (Williams, 2014). In reading these modes of nostalgia, the article argues that they ultimately function as a sort of ‘homecoming’, as the gamers’ many different experiences of the game and media texts surrounding the game all come together as complex attempts of memory work, creating the possibility of establishing a home within their fandom.

Saboreando nostalgia: Comida y el pasado en “La Casa de Don Cucho” (Perú)

This article situates nostalgia as part of the current gastronomic boom and gastro-politics currently at play in Peru. Although recent emphasis on gastronomy as a national economic development plan is clearly rooted in neoliberal themes of entrepreneurship and marketization, idealized notions of the past are being invoked not only to foster food entrepreneurship but also a critical food politics. Drawing primarily on the work of Kathleen Stewart and Alberto Flores Galindo, this paper highlights two types of nostalgia currently at work in the food boom. The first situates the past as a potentially profitable commodity from which to build profit and prestige while the second invokes the past to critique modernity’s ruins. Consequently, nostalgia should not be dismissed as mere romanticism but rather a potentially political act rooted in current realities of loss and suffering, wielded to conjure a new way of being in the world.

The effect of nostalgia on hotel brand attachment

PurposeThe purpose of this study is to distinguish between two types of nostalgia, examine their effect on emotions and explore the relationships between nostalgic emotions evoked by past hotel experiences and consumers’ brand attachment and willingness-to-pay.Design/methodology/approachThis study was based on a sequential explanatory mixed-method design. An online scenario-based experiment was complemented with online structured interviews.FindingsThe results indicate that both personal nostalgia and historical nostalgia evoke positive emotions (upbeat/elation and warm/tender). However, emotions evoked by personal nostalgia are less intense than those evoked by historical nostalgia. Positive emotions successfully predicted brand prominence and brand-self connection. Brand prominence, but not brand-self connection, was positively related to consumers’ willingness-to-pay.Research limitations/implicationsThe study’s findings suggest that hotel brands that focus on creating extraordinary memories, and brands with more historical themes, elicit more positive emotions among hotel customers. This, in turn, makes customers more likely to recall that hotel brand in the future and translates into higher willingness-to-pay.Originality/valueThis study is among the first to establish and test a conceptual model that connects nostalgia, nostalgic emotions, brand attachment and willingness-to-pay in the hotel industry context. As such, it is a rare attempt to explain the role of personal and historical nostalgia in hospitality research.

“The Past Is Never Dead. It’s Not Even Past”: The Ambivalent Call of Nostalgic Memory in Richard Ford’s Short Story “Calling” (A Multitude of Sins, 2001)

This article focuses on Richard Ford’s short story “Calling,” collected in the volume entitled A Multitude of Sins (2001). It consists of the detailed recalling by a first-person narrator, from the vantage point of adulthood, of a duck-hunting outing with his father at a moment of acute family crisis when he was still a teenager. This episode, redolent of America’s nostalgic motif of male bonding and father-son transmission in the midst of mythical American nature, is shown to have proved a pathetic failure at the time, and the story stages—to pick up Svetlana Boym’s famous distinction between two main types of nostalgia—the enlightening “reflective” effects of recalling this moment of “restorative” longing for the protagonist. However, the highly analytical narrator does not consciously dwell upon the peripheral yet disturbing presence of two grotesque characters that, I contend, are the locus of the implicit meaning of the text. Through precise textual reading and references to Southern Gothic, I indeed argue that the subtext of “Calling” invites the reader to journey back into a region’s (the South’s) troubled collective past and to question its own relation to nostalgia. “Calling” thus also stages the ambivalence of nostalgic longing on the collective plane as it shows willful nostalgic recollection wavering in the face of the return of the historical repressed, that of America’s ineffable original sin.

Restorative and Reflective Nostalgia in Doctor Faustus, Macbeth and The Tempest

In the paper nostalgia and their types will first be explained and revisited; then, three examples will be provided for early modern dramatic representations of the then-unnamed concept of the pain of missing one’s homeland and the yearning to return safely to where one belongs. The frustration felt by various characters for to the means of escape and return safely home, to be finally saved and recover/retrieve/reclaim their possessions, rights, original place, title, etc. (cf. the etymology of nostalgia from Greek nostos “homecoming,” ultimately from PIE nes- “escape from, survive, be saved” + Greek algos “pain”) can be seen to play a key role in each of the three plays under investigation. The plays investigated here are Doctor Faustus, Macbeth, and The Tempest, and the paper demonstrates that despite their generic and thematic differences all three represent the synthesis of two types of nostalgia—reflective and restorative—giving voice to both elements reflected in the etymology of the word: nostos and algos; thereby informing us of the striking abundance of nostalgic tendencies in the literature of the period.

Ulitskaia’s Childhood 45–53: Documenting Nostalgic Images and Memories of Growing Up Soviet after the Great War in Literature

This article explores aspects of nostalgia for Soviet childhoods in contemporary Russia. First it describes the complex phenomenon of documentary fiction today and shows how documentary texts create generational and collective memoirs of Soviet childhoods. It then goes on to discuss the position of Liudmila Ulitskaia within this discursive framework and argues that her collection Childhood 45-53 re-creates Soviet childhood as a multifaceted phenomenon. In a next step, the article examines how the photographs in this book contribute to the narrative of growing up Soviet in the 1940s and 1950s, examining the conjoining of childhood and adult spaces in the text. In sum, this article discusses the childhood memories with regard to phenomena of childhood nostalgia and post-socialist nostalgia, and shows that in contrast to common opinion this type of nostalgia is not predominantly regressive or escapist but also conveys elements of cultural critique.

Conserving nostalgia: exploring private land protection patterns

The dramatic loss of open space in the USA over the last 50 years has led to increased conservation efforts by public, private, and non-profit entities. Amongst private landowners, conservation easements, or conditions written into a property’s title that permanently limit how it may be used, are a popular form of land protection. Private land protection is vital for both the conservation of America’s characteristic open spaces, and to ensure the future of many threatened and endangered plant and animal species. Yet little is known about the people who are placing conservation easements on their properties, the landscape features and land use practices currently being protected under conservation easements, or the ways in which these conservation patterns will continue into the future. Regardless, private land conservation efforts are shaping the American landscape; therefore, a thorough understanding of their characteristics is needed. Given that nostalgia, or an idealized and simplified notion of the past, underlies many of the motivations private landowners have for protecting their properties, this study suggests that there is a link between the type of nostalgia motivating private land protection and the types of land and land use practices being conserved. Further, the authors contend that this phenomenon is worthy of further investigation given its potential for environmental, social, and economic impact.

3. THE NOSTALGIAS FOR EMPIRE

ABSTRACTThe aim of this article is to explore the theoretical and practical differences between colonial and imperial nostalgia. It opens with a substantial theoretical discussion of the relevant scholarship followed by an analysis of the nostalgias of empire. Nostalgia, in relation to empire, is usually analyzed as a longing for a period of former imperial and colonial glory, thus blurring the various hegemonic practices associated with empire. This elision arises out of the fact colonialism was integral to European imperialism. Yet there is a significant distinction between imperial and colonial nostalgia. With its main focus on postcolonial society in France and Britain, the article will theorize the differences between them, arguing that one is connected to the loss of global power and the other to the loss of a socioeconomic lifestyle. It will explore the way in which these two types of nostalgia are constructed and historicized, examining their differences from historical memory through the responses of both former colonizing and colonized individuals or groups. It will demonstrate that collective nostalgia is not merely a “feel‐good” sentiment about an idealized political or socioeconomic past, but can be readily connected to coming to terms with past trauma(s) thus being a mechanism to elide violence experienced and violence perpetrated by highlighting one to the detriment of the other.

Nostalgia for the Lost Homeland as Part of Identity in Alė Rūta’s Works

The article examines the representation of nostalgic memory of the lost homeland, Lithuania, in the Lithuanian diaspora writer’s, Alė Rūta’s (1915-2011), trilogy called “The Destiny of the Exiled”, which consists of the novels Pirmieji svetur (1984; Eng. - The First Abroad), Daigynas (1987; Eng. – The Seedling Plot), and Skamba tolumoj (1997; Eng. Echoes from Afar). These novels describe the multilayered problems of Lithuanian immigration into the U.S.A. and life of the immigrants there. Alė Rūta (Elena Nakaitė-Arbienė) is a well-known Lithuanian author, most of whose works (novels and collections of short stories and poems, all written in the Lithuanian language) have been published by the publishers of Lithuanian diaspora in the United States of America. The trauma of the loss of the native land results in the transmitted nostalgia in her novels. The author both mourns over the lost homeland and shares with the readers her grief over this loss and longing for seeing it again. In doing this, Alė Rūta echoes the nostalgic voices of many immigrants, who left their native country at different periods. The article also discusses the issue of preservation of ethnic identity, which is constructed on nostalgic and often melancholic memories of the past, and explores different types of nostalgia, which forms a core of Alė Rūta’s trilogy.

Paul Cohen-Portheim: questions of nationalism, messianism and nostalgia in a prison camp in England, 1914–1918

ABSTRACTThis article focuses on the little-known Jewish writer Paul Cohen-Portheim (1880–1932) and his notions of nationalism and Zionism. Born in Berlin to Austrian parents of Sephardic origin, Cohen-Portheim was interned during the First World War in various English prison camps. This experience profoundly affected his intellectual outlook and he dedicated much of his effort to the fight against nationalism. It was in the English prison camps that he developed an eclectic theory of nationalism which combines a quasi-evolutionary progress towards global justice with a messianic notion of Zionism. The Jewish people play a crucial role in Cohen-Portheim’s vision of a world devoid of nationalism, whose absurdity is disclosed in the arrival of Zionism. Juxtaposing Europe’s crisis of culture and Asia’s spiritual vitality, Cohen-Portheim ascribes to Zionism a bridging of the gap that separates Europe and Asia, and fragments modern nationalistic man. This article follows Cohen-Portheim’s intellectual development and highlights shifts and continuities in his writing, arguing that he shows two different types of nostalgia, namely a longing for the East as developed in his early works and a longing for the past as displayed in his last major work.

Nostalgic Advertisements in Multicultural Malaysia: A Multimodal Analysis

Advertisements that feature nostalgia as a theme have been highly successful in their ability to evoke an emotional reaction in consumers thus connecting them to the brand and product being advertised. Nostalgic advertisements are memorable as they prompt consumers to draw from their own past experiences in a positive manner therefore creating a “feel good” factor in consumers. Nostalgia has been a popular theme in many Malaysian television commercials (TVCs) in the past decade. This study examines a Malaysian national day TVC using a thematic multimodal approach to analyse how nostalgia is reinforced through the multimodal elements in the TVC. The analysis includes a discussion of the types of nostalgia elicited by the multimodal elements in the TVC in reference to the socio-cultural context of multicultural Malaysia. The findings reveal how specific multimodal elements in the TVC are used to evoke a sense of collective nostalgia among Malaysians of diverse socio-cultural backgrounds. This study shows that personal, collective, historical or national nostalgia is reinforced in a Malaysian national day TVC by making references to dates, events, images, relationships and values that are significant and meaningful to all Malaysians regardless of ethnicity, religion or belief. Such advertisements serve to transcend ethnic and religious boundaries to create a national mindset that the whole nation can connect with instead of communal or ethnic based ones.

Nostalgia, irony and collectivity in late-modern culture

The paper seeks to promote a sociological understanding of the current wave of nostalgic expressions haunting late-modern Western culture and to re-evaluate the predominantly negative assessment of nostalgia. Filling two gaps in the existing research on nostalgia, the authors wish (1) to reintegrate into the phenomenon its experiential and collective dimensions and (2) to propose a theoretical sociological framework capable of analysing nostalgic ritual. In the first part of the paper, we discuss different approaches to the phenomenon of nostalgia. Second, we delve into the complex emotional and experiential aspects of the phenomenon and distil three different types of nostalgia. Third, seeking inspiration from Émile Durkheim and Randall Collins, we scrutinise the common collective characteristics of these different types of nostalgia. Arguing that Collins remains too interactionist in his approach to ritual, we seek to erect a theoretical framework apt for articulating mediated forms of nostalgic ritual. Fourth, we use our theoretical framework to analyse a well-known instance of nostalgic ritual in Scandinavia: The Disney Christmas Show.

Three Types of Nostalgia Expressed in ‘Nostalgia’ of Saryang Kim

Three Types of Nostalgia Expressed in ‘Nostalgia’ of Saryang Kim

Anticipatory nostalgia: Missing the present before it's gone

Four studies explored anticipatory nostalgia—missing aspects of the present before they are lost in the future—and its relationship to personal nostalgia. In Study 1, 147 undergraduates completed the new Survey of Anticipatory Nostalgia and the Nostalgia Inventory, an established measure of personal nostalgia—longing for one's remembered past. Study 2 examined the relationship of each type of nostalgia to tendencies to happiness and sadness and to dispositional measures of social assurance, need to belong and resilience. In Study 3, 123 undergraduates reacted to hypothetical situations, judged the general tendency of people and events to make them happy, sad, or worried, and wrote an essay from one of three time perspectives. Study 4 extended these findings to a solitary neutral task rating photographs and examined the relationship between nostalgia and childhood happiness. The new survey demonstrated acceptable internal and test–retest reliability and a moderate correlation with personal nostalgia. Personal nostalgia was related to remembering the past, favorable affect and reactions, whereas anticipatory nostalgia was aligned with thinking of the future, emotional distancing, difficulty enjoying the present, and a greater tendency to sadness and worry.

White Nostalgia: The Absence of Slavery and the Commodification of White Plantation Nostalgia

Since the 1960s, the United States has experienced a rise in heritage and plantation tourism that plays a significant role in passing on cultural narratives and constructing memories. In cases of plantation tourism, some narratives are constructed that deny the history of slavery or mention it only as a side effect. This absence of critical engagement commodifies a specific type of nostalgia: white nostalgia. White nostalgia exemplifies an attempt to escape issues of race by downplaying their implications and rejecting the legacy of slavery. Plantation tourism sites tend to celebrate personal narratives depicting the antebellum South as a time and place of union and jauntiness despite the fact that their histories are inseparably connected with slavery. Refusing to engage in critical discussions on slavery, these historical plantation sites can be regarded as comfortable spaces of refuge longing for an uncritical and colorblind—yet unrealistic—past. In this essay, the commodification of white nostalgia will be investigated by looking at seven plantation websites, thereby examining how white nostalgia not only distorts the history of the antebellum South but also how it sells history without racism and performs memory that distances itself from emotional legacies of slavery.

”Kadonneessa maassa”

“In a Lost Land” – The Ironizing of Nostalgia in Rosa Liksom’s Bamalama The interplay between nostalgia and irony has been a central feature of Rosa Liksom’s literary career and public image, but has not been thoroughly studied. This article examines the ironizing of nostalgia in Bamlama (1993), Liksom’s short prose collection in which her dark comedy is arguably the most intense. In this examination, the article employs Linda Hutcheon’s theories of irony and nostalgia as well as Svetlana Boym’s typology of nostalgia. More specifically, it utilizes Hutcheon’s notion of a hermeneutic affinity between irony and nostalgia, and the distinction Boym makes between conservative, restorative nostalgia and ironic, reflective nostalgia. The article explores instances of both restorative and reflective nostalgia in Bamalama and shows how irony works differently in conjunction with these different types of nostalgia. It argues that Bamalama’s postmodern approach to history is not mere textual play, but has serious ethical implications. Furthermore, it maintains that in its most poignant form, Bamalama’s ironized nostalgia reflects wistfully on the hopes and the emancipatory promises of modernity that are lost in history, rather than settling for the simple mockery of past ideals.

Guest editors’ introduction: Nostalgia, Culture and Identity in Central and Eastern Europe

The end of communism in the USSR and its satellite states produced a wave of collective euphoria that had not been seen in Europe since May 1945. Nowhere was this excitement stronger than in the former socialist countries themselves, where many felt that service had, as it were, been resumed. As former Czech dissident Vaclav Havel put it at the time, after decades of following the wrong track, we are yearning to rejoin the road which was once ours too.1 Signs that things were returning to normal were everywhere: West Germans received their Os si neighbours back into the fold by giving each of them 100 West-Deutschmarks as so-called welcome money; Hungarians could once again sit alongside their Austrian cousins and thrill to La Traviata at the Vienna Opera; and Muscovites finally got to taste their first Big Mac. The socialist dream had been cancelled, but in its place there was to be another utopia, a consumerist paradise, buttressed by liberal democracy at home, and lasting peace abroad.Barely two decades later, there is, to paraphrase Marx and Engels, a new spectre haunting Central and Eastern Europe - the spectre of nostalgia. The idealization of the is, of course, a fundamental part of human nature. Regret for a lost idyll can often colour our way of looking at the world. Recalling memories of a bygone era, as Vladimir Jankelevitch has put it, sharpen[s] nostalgia and underline^] the irreversibility of the past.2 Until recently, nostalgia was essentially a private affair. Today, however, we can see a new type of nostalgia emerging, a collective form stretching over the entire area of the former USSR and its satellite states. This phenomenon is all the more paradoxical when one considers that the period on which this nostalgia is focused - the Soviet era - was once so roundly rejected by those who appear to feel it most keenly today. Perhaps this should not surprise us, however. As Svetlana Boym put it in her seminal work on the subject, [post-socialist] nostalgia became a defense mechanism against the accelerated rhythm of change and economic shock therapy.3 At one time this feeling was limited to emigres fondly reminiscing about their distant mother country. Now, however, it also appears to touch those who live where they always have, but whose homeland no longer officially exists.This new nostalgia has begun to attract considerable scholarly interest in recent years.4 It takes an astonishingly wide variety of forms, including the popularity among Berlin shoppers of the Ostpaket (East German products in their original packaging), the reaffirmation of stereotypical gender roles in Russian glamour culture,5 the reappearance of Soviet brands of chocolate and other fast-moving consumer goods, the rise of nationalism in countries such as Hungary and the Czech Republic, and the rehabilitation of long-forgotten artists or literary genres. This tendency to look at the through rose-tinted spectacles can also be seen in numerous published collections of Soviet photographs of the 1970s,6 or on countless social media pages, both institutional and personal.7 It is quite distinct from traditional forms of nostalgia, as the term Ostalgie, widespread in the former East Germany, suggests.8 Despite Serguei Oushakine's claim that this new kind of nostalgia does not aim at political restoration, there is often an important political subtext.9It is in the arts that this new (n)ostalgia is perhaps given its most complex expression. In her most recent novel, for example, Russian author Svetlana Alexievitch laments the demise of homo sovieticas.l0 A number of filmmakers and artists have also attempted to capture this sickness for the past (nost-algia). These include Stanislav Govorukhin, director of The Russia We Have Lost (Rossiia, kotoruiu my poteriali, 1992) and Wolfgang Becker, who is best known for Good bye, Lenin! (2003). In Moscow, the Memory Art exhibition in 2012 of paintings by Ukrainian artists Vlad Yurashko and Vika Shoumskaia, which took as its main theme the events of 1991 and their impact on collective consciousness, was followed by an international conference field in the city's Higher School of Economics, titled The USSR: Life After Death. …