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Diploma Thesis from the year 2010 in the subject Psychology - Miscellaneous, grade: 1,0, LMU Munich (Institut für Wirtschafts- und Sozialpsychologie), language: English, abstract: One of the essences of human being is that we are aware of ourselves in time. We do not only look ahead either with fear or pleasant anticipation, but also like to talk about the “good old days”. Nostalgia - which can be regarded as a sentimental longing for the past – has especially recently become an ubiquitous topic in society and media (see TV-Shows like „Die 80er Show“ and „Happy Days“). However it is unclear whether nostalgia is finally rather adaptive or maladaptive. Since its first scientific mentioning in the 17th century nostalgia has been regarded to be a burden or even a clinical disease as it might make people ruminate about better times forlorn or get lost in the past without being able to deal with the present anymore. However recently some psychologists have started suggesting that nostalgia might rather give joy to life. Yet the issue whether nostalgia is rather a problem or a pleasure has rarely been studied empirically so far. Therefore this book tries to shed some more light on the issue by reporting the results of an empirical study with a representative sample consisting of 160 German citizens. In line with the historical negative conception of nostalgia and in contrast to its current positive connotation the data show that nostalgia is negatively correlated with life satisfaction. Theoretical implications for possible mediators between nostalgia and life satisfaction are drawn. Furthermore character-traits of highly nostalgic people are observed.
Alone among the creatures of the world, man suffers a pang both bitter and sweet. It is an ache for the homecoming. The Greeks called it nostalgia. Post-modern man, homeless almost by definition, cannot understand nostalgia. If he is a progressive, dreaming of a utopia to come, he dismisses it contemptuously, eager to bury a past he despises. If he is a reactionary, he sentimentalizes it, dreaming of a lost golden age. In this profound reflection, Anthony Esolen explores the true meaning of nostalgia and its place in the human heart. Drawing on the great works of Western literature from the Odyssey to Flannery O'Connor, he traces the development of this fundamental longing from the pagan's desire for his earthly home, which most famously inspired Odysseys' heroic return to Ithaca, to its transformation under Christianity. The doctrine of the fall of man forestalls sentimental traditionalism by insisting that there has been no Eden since Eden. And the revelation of heaven as our true and final home, directing man's longing to the next world, paradoxically strengthens and ennobles the pilgrim's devotion to his home in this world. In our own day, Christian nostalgia stands in frank opposition to the secular usurpation of this longing. Looking for a city that does not exist, the progressive treats original sin, which afflicts everyone, as mere political error, which afflicts only his opponents. To him, history is a long tale of misery with nothing to teach us. Despising his fathers, he lives in a world without piety. Only the future, which no one can know, is real to him. It is an idol that justifies all manner of evil and folly. Nostalgia rightly understood is not an invitation to repeat the sins of the past or to repudiate what experience and reflection have taught us, but to hear the call of sanity and sweetness again. Perhaps we will shake our heads as if awaking from a bad and feverish dream and, coming to ourselves, resolve, like the Prodigal, to "arise and go to my father's house."
Diploma Thesis from the year 2010 in the subject Psychology - Miscellaneous, grade: 1,0, LMU Munich (Institut für Wirtschafts- und Sozialpsychologie), language: English, abstract: One of the essences of human being is that we are aware of ourselves in time. We do not only look ahead either with fear or pleasant anticipation, but also like to talk about the "good old days". Nostalgia - which can be regarded as a sentimental longing for the past - has especially recently become an ubiquitous topic in society and media (see TV-Shows like "Die 80er Show" and "Happy Days"). However it is unclear whether nostalgia is finally rather adaptive or maladaptive. Since its first scientific mentioning in the 17th century nostalgia has been regarded to be a burden or even a clinical disease as it might make people ruminate about better times forlorn or get lost in the past without being able to deal with the present anymore. However recently some psychologists have started suggesting that nostalgia might rather give joy to life. Yet the issue whether nostalgia is rather a problem or a pleasure has rarely been studied empirically so far. Therefore this book tries to shed some more light on the issue by reporting the results of an empirical study with a representative sample consisting of 160 German citizens. In line with the historical negative conception of nostalgia and in contrast to its current positive connotation the data show that nostalgia is negatively correlated with life satisfaction. Theoretical implications for possible mediators between nostalgia and life satisfaction are drawn. Furthermore character-traits of highly nostalgic people are observed.
From The Matrix and Harry Potter to Stargate SG:1 and The X-Files, recent science fiction and fantasy offerings both reflect and produce a sense of the religious. This work examines this pop-culture spirituality, or "postmodern sacred," showing how consumers use the symbols contained in explicitly "unreal" texts to gain a secondhand experience of transcendence and belief. Topics include how media technologies like CGI have blurred the lines between real and unreal, the polytheisms of Buffy and Xena, the New Age Gnosticism of The DaVinci Code, the Islamic "Other" and science fiction's response to 9/11, and the Christian Right and popular culture. Today's pervasive, saturated media culture, this work shows, has utterly collapsed the sacred/profane binary, so that popular culture is not only powerfully shaped by the discourses of religion, but also shapes how the religious appears and is experienced in the contemporary world.
Through a series of detailed visual analyses of popular films, the author demonstrates that the visual creation of 'pastness' does not necessarily sever our connection to history as is commonly claimed, but can yield new insights into the relationship between the present and the past.
This book, based on the descriptions of their dreams that former Auschwitz inmates wrote in 1973, provides a deep, insightful explanation of the role of dreams in shaping the prisoners’ experiences. It studies these testimonies from a broad, interdisciplinary perspective, analysing the psychological, social, anthropological, narrative and even artistic dimensions of the reports. The book characterises the content of the dreams and their possible meanings, the manners in which the respondents sensed, understood and described their dreams, and the informants’ attitudes towards dreaming. Among thousands of books about the Nazi atrocities, this one is unique because it explores the Holocaust through the prism of dreams. The dream descriptions serve here as an exceptional source of knowledge. They often reveal not only an image of the camp reality, but also the truth that remained unconscious, incomprehensible, and unspeakable for the dreamers themselves. As such, this text will serve to open a completely new way of thinking and writing about the Holocaust.
Nostalgia is a topic that most lay people are familiar with, but, until recently, few social scientists understood. Once viewed as a disease, nostalgia is now considered to be an important psychological resource. It involves revisiting personally cherished memories that involve close others. When people engage in nostalgia, they experience a boost in positive psychological states such as positive mood, feelings of social connectedness, self-esteem, self-continuity, and perceptions of meaning in life. Since nostalgia promotes these positive states, when people experience negative states (such as loneliness or meaninglessness), they use nostalgia to regulate distress. This book explains in detail what nostalgia is, how views of it have changed over time, and how it has been studied by social scientists. It explores issues like how common nostalgia is and whether people differ in their tendency to be nostalgic. It looks at the triggers and inspiration for nostalgia, and the emotional states that are associated with it. Finally, the psychological, social, and behavioral effects of engaging in nostalgia are discussed. This volume provides the most comprehensive overview to date of the social scientific research into the complex and intriguing phenomenon of nostalgia. It will be of interest to a range of students and researchers in psychology and beyond, and its accessible writing style and engaging anecdotes will also be appreciated by a wider, non-academic audience.
This volume explores the nature of nostalgia as an important emotion in contemporary society and social theory. Situated between the ‘sociology of emotions’ and ‘nostalgia studies’, it considers the reasons for which nostalgia appears to be becoming an increasingly significant and debated emotion in late-modern culture. With chapters offering studies of nostalgia at micro-, meso- and macro-levels of society, it offers insights into the rise to prominence of nostalgia and the attendant consequences. Thematically organised and examining the role of nostalgia on an individual level – in the lives of concrete individuals – as well as analysing its function on a more historical social level as a collective and culturally shared emotion, Nostalgia Now brings together the latest empirical and theoretical work on an important contemporary emotion and proposes new agendas for research. As such, it will appeal to scholars of sociology, social theory, psychology and cultural studies with interests in the emotions.
Spectacle is not often considered to be a significant part of the style of ‘classical’ cinema. Indeed, some of the most influential accounts of cinematic classicism define it virtually by the supposed absence of spectacle. Spectacle in ‘Classical’ Cinemas: Musicality and Historicity in the 1930s brings a fresh perspective on the role of the spectacular in classical sound cinema by focusing on one decade of cinema (the 1930s), in two ‘modes’ of filmmaking (musical and historical films), and in two national cinemas (the US and France). This not only brings to light the special rhetorical and affective possibilities offered by spectacular images but refines our understanding of what ‘classical’ cinema is and was.