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One of the few points critics and readers can agree upon when discussing the fiction popularly known as New Space Opera – a recent subgenre movement of science fiction – is its canny engagement with contemporary cultural politics in the age of globalisation. This book avers that the complex political allegories of New Space Opera respond to the recent cultural phenomenon known as neoliberalism, which entails the championing of the deregulation and privatisation of social services and programmes in the service of global free-market expansion. Providing close readings of the evolving New Space Opera canon and cultural histories and theoretical contexts of neoliberalism as a regnant ideology of our times, this book conceptualises a means to appreciate this thriving movement of popular literature.
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.
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.
In The Hours Have Lost Their Clock, Grafton Tanner charts the rise of nostalgia in an era knocked out of time. Nostalgia is the defining emotion of our age. Political leaders promise a return to yesteryear. Old movies are remade and cancelled series are rebooted. Veterans reenact past wars, while the displaced across the world long for home. But who is behind this collective ache for a home in the past? Do we need to eliminate nostalgia, or just cultivate it better? And what is at stake if we make the wrong choice? Moving from the fight over Confederate monuments to the birth of homeland security to the mourning of species extinction, Grafton Tanner traces nostalgiaÕs ascent in the twenty-first century, revealing its power as both a consequence of our unstable time and a defense against it. With little faith in a future of climate change and economic anxiety, many have turned to nostalgia to weather the present, while powerful elites exploit it for their own gain. An exploration into the politics of loss and yearning, The Hours Have Lost Their Clock is an urgent call to take nostalgia seriously. The very future depends on it.
A new collection of essays exploring class, whiteness, family, and nostalgia, for better and for worse. I have a nostalgia problem, and I'm not the only American who does. So writes Jennifer Niesslein in the introduction to Dreadful Sorry. But what, exactly, is the problem? Having grown up hand-to-mouth in small-town Pennsylvania and suburban Virginia, Niesslein is keenly aware of both past challenges and relative privilege. In this set of engaging, personal stories, Niesslein digs into how her own sense of self is rooted in nostalgic narratives of her upbringing and of American history writ large. With often wry candor, she address thorny questions of family trauma and the problematic calculus of respectability politics--as well as the lighter nostalgias offered by high school reunions and the plain fact of a long and enduring marriage. In an era of widespread re-evaluation of Confederate monuments and the apparatus of white supremacy, Niesslein aims to diligently scrub out nostalgia that casts the past in a rosy glow, while remaining open-hearted and hopeful that nostalgia--our shared longing for a lost time--can help illuminate our understanding of the present and point the way toward a better future. Charming and frank, this suite of personal essays digs deep, offering truths that will resonate with readers across the spectrum curious about the persistence of memory and our collective longing for days gone by.
This tenth volume in the series addresses an important topic of research, de sign, and policy in the environment and behavior field. Public places and spaces include a sweeping array of settings, including urban streets, plazas and squares, malls, parks, and other locales, and natural settings such as aquatic environments, national parks and forests, and wilderness areas. The impor tance of public settings is highlighted by difficult questions of access, control, and management; unique needs and problems of different users (including women, the handicapped, and various ethnic groups); and the dramatic re shaping of our public environments that has occurred and will continue to occur in the foreseeable future. The wide-ranging scope of the topic of public places and spaces demands the attention of many disciplines and researchers, designers, managers, and policymakers. As in previous volumes in the series, the authors in the present volume come from a variety of disciplinary backgrounds, research and design orientations, and affiliations. They have backgrounds in or are affiliated with such fields as architecture, geography, landscape architecture, natural re sources, psychology, sociology, and urban design. Many more disciplines ob viously contribute to our understanding and design of public places and spaces, so that the contributors to this volume reflect only a sample of the possibilities and present state of knowledge about public settings.
As the late 20th-century fascination with rounded shapes, organic influences and plastics fades, interior designers are increasingly drawn to dark colours, polished woods, velvets, furs, leather, dark metals and brick - materials with a nostalgic quality that were used liberally in centuries gone by. Efforts to shape a more authentic, less austere present by creating an idealized version of the past have begun to appear in commercial and residential design domestically and abroad. Dark Nostalgia presents 25 projects that exemplify the smooth incorporation of evocative historic details into current interiors. They all demonstrate the many successful ways this trend towards a dark nostalgia has been incorporated into recent designs.
Some of the most pressing contemporary issues (ecological crisis, migration and integration, fragmented worldviews, social media, fake news, extremist politics and terrorism) can be understood more profoundly through how they interact with both individual and collective forces of nostalgia. Nostalgia is politics, but these politics are also interwoven with media and culture. Notwithstanding how nostalgia is used or contextualized in terms of politics and social practices, commodification or personal development, its power is primarily situated within its efficacy as a governing, influential human emotion. The vast and luminous contributions to this special issue on contemporary nostalgia are all investigating the role different aesthetic media formats (film, music, literature, computer games) plays in nostalgic negotiations with style, history, migration, love, nationalism, diaspora, irony, modernity, colonial and postcolonial discourses, and adoption. Mutually, these essays stand out as important, original, critical contributions to the expanding field of nostalgia studies and offer a valued insight on our world.
Svetlana Boym writes a new genealogy of modernity, moving beyond older debates between modernism and postmodernism to focus on the intersection of art, architecture, technology, and philosophy in the early twenty-first century. Drawing on theories of Georg Simmel, Henri Bergson, Aby Warburg, and Jacques Derrida, Boym presents the off-modern as an eccentric, self-questioning, anti-authoritarian perspective with roots in the Russian avant-garde, now developed in surprising ways by contemporary artists, architects, and curators around the world. She illustrates the off-modern in discussions of (and with) figures as diverse as architect Rem Koolhaas, Albanian artist-turned-mayor Edi Rama, an art collective in Delhi, and the creator of the Museum of Jurassic Technology in Los Angeles. Both a manifesto and a memoir, The Off-Modern often returns to themes of travel and immigration, exploring issues of diasporic intimacy and productive estrangement amid nostalgic landscapes of urban ruins.