Nostalgia: home-comings and departures
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2010
Authors
Radstone, S.
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Memory Studies, 2010; 3(3):187-191
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Nostalgia resonates within and beyond so many of the themes that have been preoccupying – and that continue to impel – humanities and social science scholarship. Its reach extends through studies of the nostalgias of social theory (Stauth and Turner, 1988), to sociological studies of the rise of nostalgia culture (Davis, 1979), to the study of contemporary historical and cultural representations of the past in the present (Lowenthal, 1985, 1989), to historical and literary studies of the past’s relations with its own pasts (Williams, 1973; Chase and Shaw, 1989; Dames, 2001), to recent debates on the nature of postmodernism in all its forms and its relations with history and the past.1 In film studies, the concept of nostalgia has been drawn on in scholarship on genres including the heritage film (Higson, 1996) and costume drama as well as in studies of national cinemas (see for instance Powrie, 1997), cinematic pastiche, and cinema and memory (Radstone, 2010; Cook, 2005; Grainge, 2002), while writing on new media draws on and develops the idea of virtual culture’s ‘nostalgia for the real’ (Baudrillard, 1995). Elsewhere, in scholarship on refugeedom, forced migration and the ‘new’ cosmopolitanism, both lived and represented, nostalgia emerges as mournful, melancholic and tied to home, as well as enabling, practical, positive and an aid for renewing lives in strange lands (see for instance Boym, 2001; Hage, 2010).
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Copyright 2010 Susannah Radstone