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The advent of the new age has alerted us to the conflicted nature of historical memory which defined the 20th century while simultaneously assaulting us with new historical upheavals that demand responsibility and critical consideration. As the historical text bears traces of the writing subject, the element of deception is remarkable, meaning historical memory easily lends itself to forgery and false and subjective projections. As such, how do we think about the past, about history, about memory, and how does memory function? Is history an objective account, a collection of dry, reliable facts? Is it an imaginative narrative, tinged with nostalgia, a projection of our wishful thinking, the workings of our subjective perceptions and attitudes, our states of mind? The essays in this volume focus on the relevance of the past to the present and future in terms of the shifting attitudes to personal and collective experiences that have shaped dominant Western critical discourses about history, memory, and nostalgia. The contributors here take issue with the epistemological, hermeneutic, ethical, and aesthetic dimensions of the representational practices through which we revisit and revise the meaning of the past.
Scholars of state socialism have frequently invoked “nostalgia” to identify an uncritical longing for the utopian ambitions and lived experience of the former Eastern Bloc. However, this concept seems insufficient to describe memory cultures in the Czech Republic and other contexts in which a “retro” fascination with the past has proven compatible with a steadfast critique of the state socialist era. This innovative study locates a distinctively retro aesthetic in Czech literature, film, and other cultural forms, enriching our understanding of not only the nation’s memory culture, but also the ways in which popular culture can structure collective memory.
While Romantic-era concepts of childhood nostalgia have been understood as the desire to retrieve the ephemeral mindset of the child, this collection proposes that the emergence of digital media has altered this reflective gesture towards the past. No longer is childhood nostalgia reliant on individual memory. Rather, it is associated through contemporary convergence culture with the commodities of one's youth as they are recycled from one media platform to another. Essays in the volume's first section identify recurrent patterns in the recycling, adaptation, and remediation of children's toys and media, providing context for section two's exploration of childhood nostalgia in memorial practices. In these essays, the contributors suggest that childhood toys and media play a role in the construction of s the imagined communities (Benedict Anderson) that define nations and nationalism. Eschewing the dichotomy between restorative and reflexive nostalgia, the essays in section three address the ethics of nostalgia in terms of child agency and depictions of childhood. In a departure from the notion that childhood nostalgia is the exclusive prerogative of narrative fiction, section four looks for its traces in the child sciences. Pushing against nostalgia's persistent associations with wishful thinking, false memories, and distortion, this collection suggests nostalgia is never categorically good or bad in itself, but owes its benefits or defects to the ways in which it is brought to bear on the representation of children and childhood.
Nostalgia isn't what it used to be. For many of us, modern memory is shaped less by a longing for the social customs and practices of the past or for family heirlooms handed down over generations and more by childhood encounters with ephemeral commercial goods and fleeting media moments in our age of fast capitalism. This phenomenon has given rise to communities of nostalgia whose members remain loyal to the toys, television, and music of their youth. They return to the theme parks and pastimes of their upbringing, hoping to reclaim that feeling of childhood wonder or teenage freedom. Consumed nostalgia took definite shape in the 1970s, spurred by an increase in the turnover of consumer goods, the commercialization of childhood, and the skillful marketing of nostalgia. Gary Cross immerses readers in this fascinating and often delightful history, unpacking the cultural dynamics that turn pop tunes into oldies and childhood toys into valuable commodities. He compares the limited appeal of heritage sites such as Colonial Williamsburg to the perpetually attractive power of a Disney theme park and reveals how consumed nostalgia shapes how we cope with accelerating change. Today nostalgia can be owned, collected, and easily accessed, making it less elusive and often more fun than in the past, but its commercialization has sometimes limited memory and complicated the positive goals of recollection. By unmasking the fascinating, idiosyncratic character of modern nostalgia, Cross helps us better understand the rituals of recall in an age of fast capitalism.
How are our personal soundtracks of life devised? What makes some pieces of music more meaningful to us than others? This book explores the role of memory, both personal and cultural, in imbuing music with the power to move us. Focusing on the relationship between music and key life moments from birth to death, the text takes a cross-disciplinary approach, combining perspectives from a ‘history of emotions’ with modern day psychology, empirical surveys of modern-day listeners and analysis of musical works. The book traces the trajectory of emotional response to music over the past 500 years, illuminating the interaction between personal, historical and contextual variables that influence our hard-wired emotional responses to music, and the key role of memory and nostalgia in the mechanisms of emotional response.
As early as the eighteenth century, white Americans and Europeans believed that people of African descent could not experience nostalgia. As a result, black lives have been predominately narrated through historical scenes of slavery and oppression. This phenomenon created a missing archive of romantic historical memories. Badia Ahad-Legardy mines literature, visual culture, performance, and culinary arts to form an archive of black historical joy for use by the African-descended. Her analysis reveals how contemporary black artists find more than trauma and subjugation within the historical past. Drawing on contemporary African American culture and recent psychological studies, she reveals nostalgia’s capacity to produce positive emotions. Afro-nostalgia emerges as an expression of black romantic recollection that creates and inspires good feelings even within our darkest moments. Original and provocative, Afro-Nostalgia offers black historical pleasure as a remedy to contend with the disillusionment of the present and the traumas of the past.
In this volume collaborators from different universities all over the world explore a wide variety of methods for the study of literature as cultural memory. In literature, the past may be (re)constructed in various ways and in very diverse forms. This immediately raises the question as to how one can describe and inventory the various discourses and metadiscourses of historical representation. In what sense can the rhetoric of literary historiography itself contribute to literature's function as cultural memory? Which methods of analysis are most appropriate for describing specific text types or genres as cultural memory? What have been the pragmatic uses and the ethical merits of the stability and continuity that literature has often provided for European, American, Asian and African cultures? What are the dilemmas they create for our teaching at the end of the twentieth century? To all these questions, a wide range of scholars here tries to find answers. In thorough and highly original contributions, they not only address theoretical problems, but also engage themselves in practical analyses of specific works.
Media and Nostalgia is an interdisciplinary and international exploration of media and their relation to nostalgia. Each chapter demonstrates how nostalgia has always been a media-related matter, studying also the recent nostalgia boom by analysing, among others, digital photography, television series and home videos.
WINNER OF THE PULITZER PRIZE • NEW YORK TIMES BESTSELLER • The epic, beloved novel of two boy geniuses dreaming up superheroes in New York’s Golden Age of comics, now with special bonus material by the author “It's absolutely gosh-wow, super-colossal—smart, funny, and a continual pleasure to read.”—The Washington Post Book World One of The New York Times’s 100 Best Books of the 21st Century • One of Entertainment Weekly’s 10 Best Books of the Decade • Finalist for the PEN/Faulkner Award, National Book Critics Circle Award, and Los Angeles Times Book Prize A “towering, swash-buckling thrill of a book” (Newsweek), hailed as Chabon’s “magnum opus” (The New York Review of Books), The Amazing Adventures of Kavalier & Clay is a triumph of originality, imagination, and storytelling, an exuberant, irresistible novel that begins in New York City in 1939. A young escape artist and budding magician named Joe Kavalier arrives on the doorstep of his cousin, Sammy Clay. While the long shadow of Hitler falls across Europe, America is happily in thrall to the Golden Age of comic books, and in a distant corner of Brooklyn, Sammy is looking for a way to cash in on the craze. He finds the ideal partner in the aloof, artistically gifted Joe, and together they embark on an adventure that takes them deep into the heart of Manhattan, and the heart of old-fashioned American ambition. From the shared fears, dreams, and desires of two teenage boys, they spin comic book tales of the heroic, fascist-fighting Escapist and the beautiful, mysterious Luna Moth, otherworldly mistress of the night. Climbing from the streets of Brooklyn to the top of the Empire State Building, Joe and Sammy carve out lives, and careers, as vivid as cyan and magenta ink. Spanning continents and eras, this superb book by one of America’s finest writers remains one of the defining novels of our modern American age. Winner of the Bay Area Book Reviewers Award and the New York Society Library Book Award
On autopsy, the brain of an Alzheimer's patient can weigh as little as 30 percent of a healthy brain. The tissue grows porous. It is a sieve through which the past slips. As her mother loses her grasp on their shared history, Elizabeth Kadetsky sifts through boxes of the snapshots, newspaper clippings, pamphlets, and notebooks that remain, hoping to uncover the memories that her mother is actively losing as her dementia progresses. These remnants offer the false yet beguiling suggestion that the past is easy to reconstruct—easy to hold. At turns lyrical, poignant, and alluring, The Memory Eaters tells the story of a family's cyclical and intergenerational incidents of trauma, secret-keeping, and forgetting in the context of 1970s and 1980s New York City. Moving from her parents' divorce to her mother's career as a Seventh Avenue fashion model and from her sister's addiction and homelessness to her own experiences with therapy for post-traumatic stress disorder, Kadetsky takes readers on a spiraling trip through memory, consciousness fractured by addiction and dementia, and a compulsion for the past salved by nostalgia.