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Jacobus Kloppers, an eminent composer, organist, pedagogue, and scholar, significantly contributed to musicological and organ teaching in South Africa and Canada and, in the latter context, art music, and liturgical composition. A Passage of Nostalgia – The Life and Work of Jacobus Kloppers, as a symbolic gesture, constitute recognition of his work both in South Africa and Canada. This publication is unique in that, apart from relevant disciplinary perspectives, biographical and autobiographical narrative, and anecdote, all constitute a necessary means through which the authors illuminate Kloppers’ compositional process and its creative outcomes. In this regard, Kloppers generously dedicated his time to the project to make information on his life and work available, often in complex ways. This retrospective input supports the work offered as an authentic, self-reflective recounting of a life of dedicated service in music. The construct of nostalgia as an overarching theme to this volume on some level denotes Kloppers’ position of cultural and religious ‘insidedness’ and ‘outsidedness’. However, apart from representing a return to a lost and challenging past, the composer’s creative work affirms his individuality, sense of artistic self, and propensity for spiritual acceptance and tolerance. Moreover, nostalgia in his oeuvre takes on importance as a rhetorical artistic practice by which continuity is as central as discontinuity.
Can one be nostalgic for the home one never had? Why is it that the age of globalization is accompanied by a no less global epidemic of nostalgia? Can we know what we are nostalgic for? In the seventeenth century, Swiss doctors believed that opium, leeches, and a trek through the Alps would cure nostalgia. In 1733 a Russian commander, disgusted with the debilitating homesickness rampant among his troops, buried a soldier alive as a deterrent to nostalgia. In her new book, Svetlana Boym develops a comprehensive approach to this elusive ailment. Combining personal memoir, philosophical essay, and historical analysis, Boym explores the spaces of collective nostalgia that connect national biography and personal self-fashioning in the twenty-first century. She guides us through the ruins and construction sites of post-communist cities -- St. Petersburg, Moscow, Berlin, and Prague-and the imagined homelands of exiles-Benjamin, Nabokov, Mandelstam, and Brodsky. From Jurassic Park to the Totalitarian Sculpture Garden, from love letters on Kafka's grave to conversations with Hitler's impersonator, Boym unravels the threads of this global epidemic of longing and its antidotes.
This book addresses the multiple meanings of nostalgia in the literature of the period. Whether depicted as an emotion, remembrance, or fixation, these essays demonstrate that the nostalgic impulse reveals how deeply rooted in the damaged, the old, and the vanishing, were the variety of efforts to imagine and produce the new—the distinctly modern.
Poetry. NOSTALGIA FOR THE CRIMINAL PAST by Kathleen Winter is the winner of the 2011 Antivenom Poetry Award published by Elixir Press. Contest judge, Deborah Bogen, had this to say about it: "NOSTALGIA FOR THE CRIMINAL PAST is Kathleen Winter's complicated, insightful, intriguing, sometimes sad and always artful song." And Cynthia Hogue said this: "By turns witty, gutsy, and passionate, Kathleen Winter's NOSTALGIA FOR THE CRIMINAL PAST pulls the reader into a capacious verbal terrain. 'Penumbra's a conundrum, / conundrum is penumbra. / An umbrella's humdrum,' one poem playfully opens. There is in these poems a subtle, delicate narrative of loss, grief, and survival, but as a poet trained in the law, Winter knows that any truth, like joy, is rare and precious. 'Joy is brief. / It turns away, extends its limbs, / feathered, reptilian,' one speaker opines. These poems are the nimble, profound products of experience alchemized into wisdom. NOSTALGIA FOR THE CRIMINAL PAST is a dazzling debut."
Challenging the stereotype that black people who lived under South African apartheid have no happy memories of the past, this examination into nostalgia carves out a path away from the archetypical musings. Even though apartheid itself had no virtue, the author, himself a young black man who spent his childhood under apartheid, insists that it was not a vast moral desert in the lives of those living in townships. In this deep meditation on the experiences of those who lived through apartheid, it points out that despite the poverty and crime, there was still art, literature, music, and morals that, when combined, determined the shape of black life during that era of repression.
The Promise of Nostalgia analyses a range of texts – including The Virgin Suicides, both the novel by Jeffrey Eugenides’ and Sofia Coppola’s screen adaptation, photography of Detroit’s ‘abandoned spaces’, and blogger Tavi Gevinson's media output – to explore nostalgia as a prominent affect in contemporary American cultural production. Counter to the prevalent caricature of nostalgia as anti-future, the book proposes a more nuanced reading of its stakes and meanings. Instead of understanding it as evidence of the absence of utopia it contends that there is a masked utopian impulse in this nostalgia ‘mode’ and critical potential in what has typically been dismissed as ideological. This book will be of interest to scholars, graduate students and upper-level undergraduate students interested in contemporary culture, cultural theory, media studies, the Frankfurt School, utopian studies and American literature and culture.
This book examines the emergence of a new genre during the eighteenth century: the nostalgia poem. This genre is best understood by reconceiving the premises of nostalgia itself, examining it as first and foremost a mode of idealization rather than a longing for the past. From the poems that make up this genre, we have derived many of our modern ideas and images of nostalgia. In tracing the history of the nostalgia poem, this book also traces a pattern of tropic change, in which a new genre is built around tropes extracted from the dying genres. This new genre then begins producing its own tropes; in the case of the nostalgia poem, these include idealized school days and ruined villages. As these tropes become overly familiar, the nostalgia poem genre itself begins to fall apart. This book reevaluates poems ranging from Dryden's Hastings elegy to Crabbe's The Village, showing how works as varied as Gray's Eton College Ode, Macpherson's forged epics, and Goldsmith's The Deserted Village are all part of a doomed literary experiment - an experiment that has nevertheless determined the course of modern nostalgic thought.
This collection of previously unpublished autobiographical and semi-autobiographical “snippets of experience” written by Svetlana Boym in the final period of her life capture her penchant for seamlessly melding, poetically and dream-like, the intensively personal with the everyday and the world-historical. They illuminate the formative conditions for the thinking which she was to develop into her majestic work on nostalgia. Importantly, these pieces fill in gaps in understanding the genesis and scope of her take on the world. For readers both familiar with her work and for those new to it, The Origins of Nostalgia will enable our own cultural past as well as that of the former Soviet Union to be viewed in a different light.
“A thrilling and immersive work of speculative climate fiction.” —Kirkus Reviews The second installment in the topical, award-winning Heartless Series, Nostalgia Is Heartless delves into a world on the brink of climate catastrophe. Pregnant, unemployed, and living back home with her father, scientist Quinn Buyers wonders how she got to this point. Her famous scientist mother is still mysteriously missing, the planet is at risk from a massive solar storm, the pesky Transhumans want to take a colony to Titan, and her assisted living companion, a robotic meerkat, is showing clear signs of anxiety and depression. But her biggest challenge is her partner. How can she reconcile her long-distance relationship with this reserved, enigmatic cyborg? This time, Quinn’s adventures take her across the globe to Antarctica . . . where it rains all day, every day. Full of humor and whimsy, Nostalgia Is Heartless will delight readers as they follow Quinn’s race to save her family, her planet, and—hopefully—her love life.