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Journal articles on the topic 'Nostalgia in art'

Author: Grafiati

Published: 4 June 2021

Last updated: 30 July 2024

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1

Kostova-Panayotova, Magdalena. "The Socialist Art – Teaching or Rewriting." Balkanistic Forum 33, no. 2 (June 1, 2024): 261–67. http://dx.doi.org/10.37708/bf.swu.v33i2.17.

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The article focuses on the phenomenon of soc-art as part of the parodic reimagining of socialist realism literature. It examines its secondary reception as part of the nostalgia of the 70s-80s of the 20th century, which is a lack, a hiatus, a non-realization, but a part of the past of thousands of people. The phenomenon is placed against the back-ground of Bulgarian literature and the story "The Anyuta Case" by the writer Alek Popov is drawn for analysis. This story shows the way in which Bulgarian literature in the 90s of the 20th century ironically and without a lack of nostalgia interprets the time of socialist realism and its values. The aesthetics of socialist realism are turned upside down, and the writer demonstrates all the insanity and idiocy of the reality he was called to reflect. Unlike the late 20th century Russian soc-art, which is perceived more nostalgically than ironically, this work from the late 20th century unambiguous-ly reveals the scars of a time that, despite the usual nostalgia of the generation, could not sound nostalgic.

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2

Morozov, A. Y. "NOSTALGIA AS THE CULTURAL PHENOMENON." UKRAINIAN CULTURAL STUDIES, no. 2 (3) (2018): 13–18. http://dx.doi.org/10.17721/ucs.2018.2(3).03.

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The article is devoted to the observation of the cultural phenomenon of nostalgia, its social, psychological, ethical and general philosophical aspects. It is shown that nostalgia is based on value-laden memory that helps us differ pleasant and unpleasant, useful and useless, meaningful and meaningless. This value-laden memory has its ethical dimension that deals with moral tradition, our concepts of good and evil, justice and injustice, sense of life and sense of death. We may say that ethical memory is a part of a larger “cultural memory” that enables every kind of social and individual identity. Due to nostalgia the generation`s continuity is established. In the act of nostalgia a person recalls the past but also rebels against actual state of presence. It is affirmed that our time-arrangement of “bad presence” and “good past” is possible because of ontological time regress. Nostalgizing for the past, a man is trying not only to mythologize the latter, but to resurrect it symbolically. Nostalgia’s faith in revival contains a hope for annihilation of time and triumph of eternity. We may call it an archetypical need, a manifestation of ancient mythological and religious motive of death and resurrection. Longing for past accompanies mankind dur- ing all its history and especially rises in the postmodern culture – in forms of metaphysical, political and aesthetical nostalgias. Metaphysical nostalgia is the lust for Logos, (God, meaning, truth, the good and the beauty) in the post-nihilistic absurd world, where god is claimed to be dead, and all supreme values are seemed to be devalued. It is also longing for the sacred reality, the being, that postmodern culture is lacked. Political nostalgia is the lust for the real power, subconscious desire for its increasing, expanding, absolutization. Aesthetical nostalgia is the sadness for the art as symbolic hierarchical structure with definite cultural and historical code as today we observe fakes and simulations, chaos and “metastases of cultural codes” (J. Baudrillard).

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3

Ballam-Cross, Paul. "Reconstructed Nostalgia." Journal of Popular Music Studies 33, no. 1 (March 1, 2021): 70–93. http://dx.doi.org/10.1525/jpms.2021.33.1.70.

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In chillwave, synthwave, vaporwave, and their respective subgenres, a common element is the thread of nostalgia, constant in each. This is the case for both the cover art used for these releases, as well as compositional techniques used in the music itself. Although these genres certainly approach nostalgia in different ways, they each rely on imagery that evokes nostalgic feelings or memories in a form of collective, imaginative self-soothing. The memories evoked, however, tend to rely on unrealistic depictions of reality and center on times and places that have perhaps only existed in the listener’s imagination. This article argues that the re-interpretation of cultural memory is an important structural feature in chillwave, synthwave, vaporwave, and vaporwave subgenres such as mallsoft and the associated Japanese “city pop” revival. Through a discussion of the visual and musical connections that draw these genres together, the concepts of nostalgia in music (as well as the related concept of “reconstructed nostalgia”) are explored. An examination of listeners’ narrative explorations of these genres posted online suggests that users engage knowingly and willingly with this “reconstructed nostalgia.” Ultimately, this forms a collaborative and collective universe used by listeners as a method of escapism, through both their own imaginations and online comments.

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4

MIDDLETON, RICHARD. "O brother, let's go down home: loss, nostalgia and the blues." Popular Music 26, no. 1 (January 2006): 47–64. http://dx.doi.org/10.1017/s0261143007001122.

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The blues genre is commonly (and not incorrectly) regarded as a key marker of African-American identity and one with ‘deep’ (folk, or ‘down home’) roots. But this status is inadequately understood unless it is placed in a context of inter-racial exchange, in which ‘roots’ are a product of a complex transaction between ‘modernity’ and ‘tradition’. This territory is explored in terms of a thematics of loss, nostalgia and trauma, evident both in blues content and in the historical structure of revival to which the genre has been continually subject. A useful background is the film O Brother, Where Art Thou?, a nostalgic celebration of nostalgia with a blues/bluegrass inter-racial dimension, and a productive theoretical framework is provided by Lacan's approach to fantasy, loss and nostalgia.

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5

Gee, M. "Review: Art, Nature and Nostalgia." Oxford Art Journal 27, no. 3 (March 1, 2004): 428–31. http://dx.doi.org/10.1093/oaj/27.3.428.

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6

Cardoso, Dinora. "Café Nostalgia: Art and Exile." Neophilologus 89, no. 4 (October 2005): 563–73. http://dx.doi.org/10.1007/s11061-005-0520-1.

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7

Hauser, Katherine. "Photorealist Nostalgia and the American Family." Prospects 22 (October 1997): 263–84. http://dx.doi.org/10.1017/s0361233300000132.

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Many critics of photorealism relied on the concept of nostalgia to dismiss the movement, finding in these apparently photographically accurate paintings representations of a simple past which seemed to disregard the complicated problems of the day. These critics, speaking within the constraints of a period when nostalgia experienced wider appeal than usual, offered what has become one of the accepted, and simplistic, interpretations of photorealism. Disenchanted by an apparently sentimental art popularized in mass-media photospreads and even business journals, critics of photorealism depended on a negative sense of nostalgia to dismiss these paintings as expressions of ineffective longings. However, Fredric Jameson's recent articulation of the utopian content in nostalgic yearnings affords the paradigm an affirmative element. Building on Jameson's model, I argue that Robert Bechtle's family paintings, taken as a group, display nostalgic desires for the secure families of the past even as they engage with contemporary popular and media-sustained perceptions of the breakdown of the family. In mediating conflicting or dissonant cultural pressures and desires, Bechtle's works at times display an ambivalent position toward the family as they echo fifties values for family unity while they capture seventies dissatisfactions with family tensions. Precisely because “the family” inspired controversy during the late 1960s and 1970s, it also became the site of nostalgic longings, as many Americans found images evocative of older domestic norms comforting. The family also serves as the hinge linking the present and past in Bechtle's works, displaying what I call the temporal density of nostalgia.

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8

Štroblová, Kateřina. "Whose Nostalgia is Ostalgia? Post – Communist Nostalgia in Central-European Contemporary Art." Bibliotekarz Podlaski Ogólnopolskie Naukowe Pismo Bibliotekoznawcze i Bibliologiczne 47, no. 2 (July 10, 2020): 249–64. http://dx.doi.org/10.36770/bp.481.

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The paper is focused on a particular group of visual artists from Poland, Hungary, and the Czech and Slovak republics dealing with the issue of memory, history and nostalgia in their work. A common feature of their art is the perception of local space in its historical connotations, the exploration of historical content, causality reception, and the time-space orientation of man. Using space, with its physical and symbolic expression, is their strategy; a specific interest is the process of searching, changing or losing the identity in a historically complicated area of Central Europe. The article examines relations between collective memory, identity and nostalgia, captured in the artistic reflection and thus mirroring the actual state of a society.

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9

Caviness, Madeline H. "Medieval Art as Nostalgia for the Future." Medieval Feminist Newsletter 22 (September 1996): 19–21. http://dx.doi.org/10.17077/1054-1004.1398.

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10

Jeffries, Dru. "Captain Marvel and the Art of Nostalgia." Journal of Graphic Novels and Comics 10, no. 3 (March 3, 2018): 381–82. http://dx.doi.org/10.1080/21504857.2018.1446453.

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11

SWEENEY, J. G. "Racism, Nationalism, and Nostalgia in Cowboy Art." Oxford Art Journal 15, no. 1 (January 1, 1992): 67–80. http://dx.doi.org/10.1093/oxartj/15.1.67.

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12

Haught, Leah. "Performing Nostalgia: Medievalism in King Arthur and Camelot." Arthuriana 24, no. 4 (2014): 97–126. http://dx.doi.org/10.1353/art.2014.0053.

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13

Liu *, Xinmin. "Spectacles of remembrance: nostalgia in contemporary Chinese art." Journal of Contemporary China 13, no. 39 (May 2004): 311–21. http://dx.doi.org/10.1080/1067056042000211915.

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14

Magagnoli, P. "Critical Nostalgia in the Art of Joachim Koester." Oxford Art Journal 34, no. 1 (March 1, 2011): 97–121. http://dx.doi.org/10.1093/oxartj/kcr012.

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15

Zhu, Ying. "Travel Down Memory Lane: Nostalgia and Nostophobia in Youth (2017)." Acta Universitatis Sapientiae, Film and Media Studies 18, no. 1 (October 1, 2020): 9–26. http://dx.doi.org/10.2478/ausfm-2020-0001.

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AbstractThe article analyses Youth, a Chinese melodrama directed by Feng Xiaogang in 2017, as a representation of China during a transitional period in history. It explores issues of nostalgia and nostophobia in connection with the complexities of memory, representation, and viewing pleasure. It discusses how sound and image trigger memories and conflicting emotional reactions. In the film’s nostalgic and elegiac re-enactment of a controversial past, the military art troupe performs songs and dances extolling socialist virtues as their own lives gradually unravel with the dawn of a post-socialist era. The article elaborates on how Youth reflects and enlivens personal and collective social memory as well as how we negotiate our ambivalent feelings towards the representation of a controversial past.

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16

Horvath, Gizela. "Faces of nostalgia. Restorative and reflective nostalgia in the fine arts." Jednak Książki. Gdańskie Czasopismo Humanistyczne, no. 9 (April 24, 2018): 145–56. http://dx.doi.org/10.26881/jk.2018.9.13.

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In the present article I use the terminology introduced by Svetlana Boym of restorative nostalgia and reflective nostalgia regarding works of contemporary fine art. Restorative nostalgia implies an effort to revive the past – but without acknowledging that the desired and idealized past never existed, therefore it cannot be restored, either. I illustrate the application of this concept through the “new-academic” direction in today’s contemporary Hungarian fine arts. The reflective nostalgia is aware of the idealizing momentum of the desired past, it reflects critically upon its own desires, and it highlights possibilities in the past regarding the present – often playfully or with irony. I illustrate the latter through the works of the Chinese Ai Wei Wei and the Romanian Mircea Cantor. I argue that reflective nostalgia is not a fruitless burial into the past, but a resource for processing the passing of time in a creative manner.

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17

Osborne, Evelyn. "Adult Reflections on a Childhood Kissing Game." Children's Folklore Review 39 (August 9, 2018): 28–61. http://dx.doi.org/10.14434/cfr.2018.vol39.0.25375.

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Beyond simple nostalgia, how do the games we play as children affect us as adults? Which hidden rhyming lessons are ripe for mature understanding? Using McLoed and Wright’s “happy childhood narrative” this article examines singing game, “King William was King George’s Son” and its use by two adult sisters for nostalgia, memory recall, historical lessons, enculturation, connecting with others of their generation, and creating new art.

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18

Jagodzinski, Jan. "The Nostalgia of Art Education: Reinscribing the Master's Narrative." Studies in Art Education 38, no. 2 (1997): 80. http://dx.doi.org/10.2307/1320585.

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19

Kim, Immanuel. "Art of Resistance: Nostalgia in North Korea's Literary Production." Telos 2018, no. 184 (2018): 79–99. http://dx.doi.org/10.3817/0918184079.

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20

Eula, Michael J., and Peter N. Carroll. "Keeping Time: Memory, Nostalgia, and the Art of History." History Teacher 26, no. 1 (November 1992): 125. http://dx.doi.org/10.2307/494107.

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21

Frisch, Michael, and Peter N. Carroll. "Keeping Time: Memory, Nostalgia, and the Art of History." Journal of American History 78, no. 1 (June 1991): 279. http://dx.doi.org/10.2307/2078106.

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22

Barnard, Debbie. "How art assuages history: nostalgia in Judeo-Tunisian literature." Journal of North African Studies 21, no. 2 (January 13, 2016): 199–212. http://dx.doi.org/10.1080/13629387.2016.1130932.

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23

Newington, Linda. "Nostalgia and renewal: collections and collaborations." Art Libraries Journal 35, no. 1 (2010): 41–46. http://dx.doi.org/10.1017/s0307472200016278.

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This article describes some unusual ways of working with the special collections in the University of Southampton Library of Winchester School of Art. Two of these collections have proved particularly fruitful: numerous successful activities centred on the Knitting Reference Library have aroused great interest, and there is now a strategic aim of making it the primary research resource for knitting for artists, students, and researchers in the University, and also for the wider community locally, nationally and globally. The contents of the Artists’ Books Collection too are being shared with a new audience, through exhibitions, events and participation at artists’ books fairs.

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24

Pugh, Tison. "Hollywood Knights: Arthurian Cinema and the Politics of Nostalgia by Susan Aronstein." Arthuriana 16, no. 2 (2006): 97–98. http://dx.doi.org/10.1353/art.2006.0084.

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25

Lee, Sang Dong. "헝가리 키치 문화의 변용: 공산주의 전후 시대부터 유럽연합 가입까지." Korean Society for European Integration 14, no. 2 (July 31, 2023): 115–40. http://dx.doi.org/10.32625/kjei.2023.30.115.

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Kitsch culture is a type of popular culture. In Hungary, kitsch culture emerged in the late 19th century and became increasingly popular in the early 20th century. In Hungary, kitsch culture was especially popular among the working class and peasants. Kitsch culture offered a way to escape the drudgery of life and imagine a better world, and it provided a sense of community and belonging. Of course, kitsch culture was also popular among the bourgeoisie, but they saw it as a way to express their patriotism and loyalty to the Hungarian state. The period from the late 1950s to the early 1970s is considered the golden age of Hungarian kitsch culture. This was due to the rise of socialist realism, the official art style of the communist regime after World War II. Socialist realism is characterized by realism and a focus on social issues, and the Hungarian communist regime used art as a means of propaganda, encouraging artists to create works that promoted socialist ideals and values, such as collective farming and industrialization. As such, Hungarian kitsch art was often used to promote the ideology of the communist regime and glorify party leaders. Kitsch culture in Hungary began to decline after the fall of communism in 1989, as the country's political and social landscape changed: Hungary began to move away from Soviet influence, and the government became more open to Western ideas and culture. Kitsch culture became popular again in Hungary in the 2000s, partly because many Hungarians felt nostalgic for the communist era, and partly because kitsch culture provided a way to express individuality and creativity in a society still in transition. In other words, Hungarian kitsch culture was revived by a number of factors, including nostalgia, globalization, and Hungary's accession to the European Union, and it has continued to evolve and adapt to changing cultural and social trends. An important aspect of kitsch culture during this period was the rise of nostalgia for the communist era. This growing nostalgia for the past has led to a renewed interest in the socialist era, including kitsch culture. Therefore, this article examines the history and development of Hungarian kitsch culture and how it continues to shape the self-identity of Hungarians today after Hungary's accession to the European Union.

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Nsele, Zamansele. "Post-apartheid nostalgia and the sadomasochistic pleasures of archival art." English in Africa 43, no. 3 (December 9, 2016): 95. http://dx.doi.org/10.4314/eia.v43i3.6.

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27

McCleary, Keith. "Captain Marvel and the Art of Nostalgia by Brian Cremins." Inks: The Journal of the Comics Studies Society 2, no. 2 (2018): 258–61. http://dx.doi.org/10.1353/ink.2018.0016.

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28

Dovydaitis, Gytis. "Celebration of the Hyperreal Nostalgia: Categorization and Analysis of Visual Vaporwave Artefacts." Art History & Criticism 17, no. 1 (November 15, 2021): 113–34. http://dx.doi.org/10.2478/mik-2021-0010.

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Summary Vaporwave grabs the attention of internet voyager with harsh collages glued together in a technically primitive manner. It’s a cultural phenomenon which both originated and is active solely on the internet. In the context of general internet culture Vaporwave is exclusive in its aesthetics due to the domination of violet and pink colors, technically primitive quality of texts, fetishization of 8th and 9th decade mainstream commodities and acute nostalgic undertones. Vaporwave has been mostly explored as a music genre or sociological phenomenon, while its visual aspect has mostly remained unattended. This article seeks to analyze the conceptual aspects embodied within Vaporwave visuals, to briefly compare them with music, and to unpack the mechanism of nostalgia as an affective entry point to the movement. The interpretation is mainly lead by Jean Baudrillard’s theory of hyperreality, and interpretational principles of hermeneutics. Five Tumblr blogs were analyzed. Hermeneutic inquiry into the texts yielded seven distinct symbol categories differentiated by the affect they generate: nostalgic commodities, idyllic classics, melancholic landscapes, harsh distortions, gentle geometry, depressive texts, and ecstatic brands. Each of these categories here are elaborated in detail finally summarizing the multilayered symbolism of the movement. It can be described as nostalgically challenging visual conventions through harsh technical quality and opposing codes of behavior through open expressions of depression and melancholy, thus exposing the doubts of individual imprisoned in postmodern society. ’80s and ’90s here become hyperreal fantasy lands of the past where a nostalgic individual can find refuge. In comparison to music, the visual aspect of Vaporwave highlights the technology as central artefacts of nostalgia, introduces new ways to analyze late capitalist consumer culture, and brings an intimate dialogue with hyperreality to the front. The article suggests that Vaporwave is a post-ironic art movement which both celebrates and criticizes capitalism, finally remaining vague whether there are ways to escape the system, and whether these ways should even be looked for.

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BALABAN, Gabriela. "Yanchelevichi and the nostalgia of Bessarabian childhood." Arta 31, no. 1 (September 2022): 59–64. http://dx.doi.org/10.52603/arta.2022.31-1.08.

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Idel Ianchelevici, who became a sculptor and illustrator, was born at the end of the first decade of the XX century. He proved from an early age a native talent for drawing and modeling clay on the banks of the Prut River. He had a life permanently under the sign of fortune being surrounded by true friends, who were always by his side Romania, but also in Belgium and France. After the mandatory military service in Galati and the beginning of his artistic career, Ianchelevici left for Belgium for good, where he studied sculpture at the Royal Academy of Fine Arts in Liège. He dedicated his entire life to the art, being supported by his wife, the sculptress Betty Frenay, all the time by his wife. She dedicated her life to her husband and his art, never practicing as a sculptress, considering that two artists was too much in one family. Throughout his artistic life, Ianchelevici used many types of materials in sculpture: gypsum, clay, bronze, stone, marble, and the proper technique for each type of material, including the direct carving of stone and marble. Regardless of the used technique and materials, the motifs related to childhood memories were present in his works his entire life, following him and being part of what he was: motherhood, fatherhood, barefoot small children of peasants, and the animal world even through he never returned to his birthplace.

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Odoh, Nneka, and George Odoh. "Beyond the frontiers of the homeland: Obiora Udechukwu’s diaspora art, 1997-2010." Sprin Journal of Arts, Humanities and Social Sciences 2, no. 03 (March 26, 2023): 35–50. http://dx.doi.org/10.55559/sjahss.v2i03.94.

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This article focuses on the diaspora work of Obiora Udechukwu, one of the Nsukka Art School's most well-known artists. When Udechukwu immigrated to the United States of America in 1997, he continued his pre-diaspora activities by teaching art at the university and working in his studio. The article uses historical and stylistic analyses to investigate how memory, nostalgia, remembrance, and culture-induced biases intervened in Udechukwu's diaspora work against the backdrop of the socio-political, cultural, and artistic experiences that frame his pre-diaspora art. The artist's diaspora works demonstrated that his pre-diaspora interests in Igbo culture, memories of the Nigerian civil war, and experiences of socio-political life in Nigeria have continued to influence the formal and thematic terrain of his work. His extensive use of text as a decorative and communicative tool, as well as the use of a design technique that merges two pictorial surfaces into one composition, are among the significant innovations that have taken place in his work. The study offers a developing interpretation of Obiora Udechukwu's artistic output. It also emphasizes how important memory, nostalgia, remembering, and prejudices brought on by culture are to diaspora art and to the (re)enactment of artistic identity by diasporic artists.

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Sykhomlynov, Oleksii. "EMIGRANTS “MEMORY STORIES” OF ROMUALD WERNIK." Polish Studies of Kyiv, no. 35 (2019): 349–57. http://dx.doi.org/10.17721/psk.2019.35.349-357.

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Nostalgic discourse is an important feature of the Polish boundary and emigration literature of the twentieth century. This is a large-scale and widespread trend. She is an appeal to memories and nostalgic poetics. We can talk about a certain discourse of the past memoirism, which is understood as a norm and strategy used in the creation of text or expression-statement. The basis of creative interpretation in this case are cultural and social models, which become the norm, point of reference, the basis of the text or statement, which have certain genre features. The tragic experience of social and political events of the twentieth century: the loss of small homelands and the breakdown of ties with the broad concept of “ideological homeland”, caused the emergence of a new type of literature, full of poetics of memoirs. “Memory-nostalgia” becomes one of the main thematic and artistic components of the literature of the frontier, illustrating the emergence of nostalgic discourse, a certain norm and strategy for the creation of literary texts that have specific features and are found in poetry, prose or essay in the ethno-cultural model of literature polish-ukrainian frontier. Memoirs – this is a subjective understanding of certain historical events or biographies of a particular historical figure, carried out by the writer in an artistic form with the use of his true documents of his time, a deep correlation of his own spiritual experience with the inner world of his heroes. Nostalgia is a type of vulnerability that appears today in the literature more often than any other, and is a specific form of perception of reality and the way of world perception. Today, the “literature of exiles” often refers to the theme “lost paradise of childhood”, people are tired of their youth and the place where the artist’s socialization took place. This is the essence of the nostalgic worldview. There is awareness of the irretrievability of the past, but it does not cause negative feelings, only generates a sweet pain of memories. In this context, an interesting example of nostalgic prose is the works of Romuald Wernik, an emigrant, writer from the Polish-Ukrainian borderland, historian of art, political publicist.

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32

II, Thomas W. Salmon. "Messages along the Roadside Landscape: A Vanishing Art Remembered with Nostalgia." APT Bulletin 30, no. 1 (1999): 62. http://dx.doi.org/10.2307/1504630.

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33

Seigel, Jerrold, and Romy Golan. "Modernity and Nostalgia: Art and Politics in France between the Wars." American Historical Review 102, no. 3 (June 1997): 832. http://dx.doi.org/10.2307/2171585.

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34

Shi, Tian. "Visualized Trauma, Sensitized Resilience: Urban Art among the French Hmong Community." Cosmopolitan Civil Societies: An Interdisciplinary Journal 14, no. 2 (July 29, 2022): 40–51. http://dx.doi.org/10.5130/ccs.v14.i2.8089.

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Various types of urban art emerged and prospered in recent decades when degenerating cities were embracing art as a marketing strategy. This urban-rejuvenation approach sheds less light on the agency and motivation of artists. This paper examines how ethnic artists represent traumatic memory, reflect nostalgia and mobilize individuals to collaborate with one other to build resilience. This study contributes to the literature that explores the agency and creativity of underrepresented minority artists in global society at large.

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35

Pinto dos Santos, Mariana. "On Belatedness. The Shaping of Portuguese Art History in Modern Times." Artium Quaestiones, no. 30 (December 15, 2019): 37–64. http://dx.doi.org/10.14746/aq.2019.30.29.

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Portuguese art history experienced remarkable development after World War II, especially with the work of José-Augusto França, who was responsible for establishing a historiographic canon for nineteenth- and twentieth-century Portuguese art that still endures. José-Augusto França developed a narrative that held Paris up as an artistic and cultural role model in relation to which he diagnosed a permanent delay in Portuguese art. This essay analyses França’s idea of belatedness in the context of Portuguese art historiography and political history and how it is part of a genealogy of intellectual thought produced in an imperial context, revisiting previous art historians and important authors, such as Antero de Quental and António Sérgio. Moreover, it aims to address how the concept of belatedness was associated with the idea of “civilisation” and the idea of “art as civilisation.” Belatedness also has implications in the constraints and specificities of writing a master narrative in a peripheral country – a need particularly felt in the second half of the twentieth century, to mark a political standpoint against the dictatorship that ruled from 1926 to 1974. Part of the reaction to fascism expressed the desire to follow other nations’ democratic example, but the self-deprecating judgements on Portuguese art were frequently associated with the identification of essentialist motifs – the “nature” of the Portuguese people, their way of thinking, of living, their lack of capacities or skills – and of a self-image of being “primitive” in comparison with other European countries that has antecedents going back to the eighteenth century. I will address the nostalgia for the empire and the prevailing notion of belatedness throughout the twentieth century regarding unsolved issues with that nostalgia.

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Moreno, Angie Lorena Salgado, Jorge Alexander Mora Forero, Raquel García Revilla, and Olga Martínez Moure. "Trends and Perspectives of Nostalgia in Tourism: A Systematic Review and Bibliometric Analysis." Sustainability 16, no. 13 (July 2, 2024): 5651. http://dx.doi.org/10.3390/su16135651.

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The main objective of this bibliometric review is to identify and analyze the development of the field of nostalgia tourism through a comprehensive analysis of the scientific literature. To this end, this article performs a bibliometric analysis in R Core Team 2022-Bibliometrix software 4.2.3, complemented by VOSviewer software 1.6.20 and a systematic review of the Scopus and Science Direct database to provide information on the most researched topics, the most influential authors and publications, as well as the areas requiring further research. The findings underscore the significance of nostalgia tourism in addressing the growing demand among travelers for authentic and meaningful experiences. By invoking emotional memories, fostering connections to the past, and emphasizing the quest for authenticity, this form of tourism enables visitors to engage deeply with destinations and activities that transcend conventional tourism. Consequently, it enriches their journeys with a profound sense of discovery, belonging, and cultural identity. The findings of this study make a valuable contribution to the literature on nostalgia tourism by providing a relevant and comprehensive analysis of the current state of the art. This analysis provides a better understanding of the theoretical and conceptual framework of the articles published to date, which is important to consider to enrich the academic debate on nostalgia tourism and for future research.

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de Villiers, Nico. "On Migration, Exile, and Cosmopolitanism: A Brief Survey of South African Art Song." Journal of Singing 80, no. 2 (October 25, 2023): 145–56. http://dx.doi.org/10.53830/srri3101.

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One of the genres that comprise the different musics of South Africa is that of the art song. Imported through its European heritage, the art song has found a place in the portfolios of South African composers throughout the twentieth century. However, against the backdrop of its complicated history, South Africa’s art songs often seem to reflect themes of exile, inner struggle and nostalgia. This article contemplates how these themes resonate through South Africa’s complex history, and how they have subsequently been reflected in the genre of art song, with specific reference to songs by composers S. le Roux Marais, Hubert du Plessis, Arnold van Wyk, Peter Klatzow, Hendrik Hofmeyr, and Bongani Ndodana-Breen.

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Zhao, Ruyu. "Liminal Space Theory." Advances in Engineering Technology Research 9, no. 1 (December 22, 2023): 14. http://dx.doi.org/10.56028/aetr.9.1.14.2024.

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Liminal space art, which has spread rapidly in recent years, is a branch of the subcultural aesthetic genre and has gradually derived artistic styles such as dream core, weird core, and trauma core. Under the interweaving and collision of various artistic styles, this subcultural aesthetic genre gradually formed its own unique artistic language and expression. In today's highly industrialized and rapidly modernizing society, people's nostalgia for the past and concerns about the future are the core concerns of liminal space art. The influence of liminal space art is not limited to the art circle. It has gradually become a cultural phenomenon, affecting the aesthetic concepts and life attitudes of many young people.

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Makai, Péter. "Video Games as Objects and Vehicles of Nostalgia." Humanities 7, no. 4 (November 25, 2018): 123. http://dx.doi.org/10.3390/h7040123.

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Barely 50 years old, video games are among the newest media today, and still a source of fascination and a site of anxiety for cultural critics and parents. Since the 1970s, a generation of video gamers have grown up and as they began to have children of their own, video games have become objects evoking fond memories of the past. Nostalgia for simpler times is evident in the aesthetic choices game designers make: pixelated graphics, 8-bit music, and frustratingly hard levels are all reminiscent of arcade-style and third-generation console games that have been etched into the memory of Generation X. At the same time, major AAA titles have become so photorealistic and full of cinematic ambition that video games can also serve as vehicles for nostalgia by “faithfully” recreating the past. From historical recreations of major cities in the Assassin’s Creed series and L. A. Noire, to the resurrection of old art styles in 80 Days, Firewatch or Cuphead all speak of the extent to which computer gaming is suffused with a longing for pasts that never were but might have been. This paper investigates the design of games to examine how nostalgia is used to manipulate affect and player experience, and how it contributes to the themes that these computer games explore. Far from ruining video games, nostalgia nonetheless exploits the associations the players have with certain historical eras, including earlier eras of video gaming. Even so, the juxtaposition of period media and dystopic rampages or difficult levels critically comment upon the futility of nostalgia.

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Frey, Hugo. "Pop Art and Nostalgia: The New Lessons of David Vandermeulen’s Ric Remix." Recherches sémiotiques 37-38, no. 3-1-2 (2017): 221. http://dx.doi.org/10.7202/1070445ar.

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Frey, Hugo. "Pop Art and Nostalgia: The New Lessons of David Vandermeulen’s Ric Remix." Recherches sémiotiques 38, no. 1-2 (2018): 221. http://dx.doi.org/10.7202/1070822ar.

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Eaton, Natasha. "Nostalgia for the Exotic: Creating an Imperial Art in London, 1750-1793." Eighteenth-Century Studies 39, no. 2 (2006): 227–50. http://dx.doi.org/10.1353/ecs.2005.0060.

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Sporton, Gregory. "Power as Nostalgia: the Bolshoi Ballet in the New Russia." New Theatre Quarterly 22, no. 4 (October 20, 2006): 379–86. http://dx.doi.org/10.1017/s0266464x0600056x.

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The economic and political transition of the old Soviet Union into Putin's Russia has been given plenty of attention over the past few years, with emphasis on free markets and democratic choice much in evidence. In this essay Gregory Sporton discusses the less often considered difficulties of the social transition towards a New Russia. The role of ballet in the culture of the Soviet Union occasionally leads to some embarrassment for those who think the arts represent freedom; and here the symbolic power of the nation's most political theatre, the Bolshoi, is examined at the point of its renovation. How the company has adapted to the new political realities, to the challenge of attracting audiences, and to its own complicity with the old regime is observed against the backdrop of May Day celebrations in 2004. Gregory Sporton is Director of the Visualisation Research Unit in the Department of Art at the Birmingham Institute of Art and Design. Since 2004 he has been a frequent visitor to Russia, studying a range of aspects of Russian culture under the Soviets from ballet to architecture, education and the visual arts. His study trip in 2004 was funded by the Elisabeth Barker Fund from the British Academy.

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Magro Junior, José Carlos, and Paula da Cruz Landim. "Entre nostalgia e modernidade: eclético e Déco no Brasil." Risco Revista de Pesquisa em Arquitetura e Urbanismo (Online) 19 (July 7, 2021): 1–15. http://dx.doi.org/10.11606/1984-4506.risco.2021.171061.

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O eclético e o Art Déco foram dois estilos presentes na constelação arquitetônica do mundo no século XIX e XX. Sob a ótica dos fenômenos, dentro do território brasileiro, procura-se estabelecer relações a partir da configuração do espaço e sua relação social, cultural e política. Ambos os movimentos tiveram um impacto significativo na paisagem brasileira e suas relações de influência apresentam raízes mais profundas. Neste trabalho o objetivo foi abordar qual a relação e quais as circunstâncias que possibilitaram o redesenho arquitetônico brasileiro pelas novas práticas decorativas que emergiam. A partir dessa análise buscamos conectar a linguagem da arquitetura a caminhos que levaram o país rumo à modernização.

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Elizalde Estenaga, Amaia. "Nostalgia against melancholy: artistic corporeal representations of the eternal return as a solution. A comparative approach to the work of Jon Mirande and Balthasar Klossowski." Jednak Książki. Gdańskie Czasopismo Humanistyczne, no. 9 (April 24, 2018): 157–72. http://dx.doi.org/10.26881/jk.2018.9.14.

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This paper focuses on the role that nostalgia and memory play in avoiding the melancholy that the idea of death and passage of concrete real time convey to human beings. While archaic societies found collective responses to the issue and believed in the myth of the eternal return and cyclical time, their modern counterparts started to understand time as linear and, as a consequence, had to find other strategies to abolish concrete real time. By analysing art works from the anthropological and comparative approaches of art criticism, it is contended that art has been an important means to resolve the problem, as some of the corporeal artistic representations of the eternal return created during the 20th century demonstrate.

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Ankyiah, Francis. "Revisiting Childhood: A Phenomenological Study on Art Students' Lived Experiences of Memory and Fantasy Drawings." European Journal of Behavioral Sciences 7, no. 1 (May 13, 2024): 1–11. http://dx.doi.org/10.33422/ejbs.v7i1.1117.

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This phenomenological study explored art students' lived experiences of creating memory and fantasy drawings of their childhood. In-depth semi-structured interviews were conducted with 12 undergraduate art students who completed a drawing assignment revisiting their childhoods through memory and fantasy renderings. Data were analyzed using interpretative phenomenological analysis to extract themes and insights into the essence of the phenomenon. Findings revealed that memory drawings evoked vivid recreations of specific moments and relationships from childhood, eliciting emotional responses ranging from nostalgia to distress. Fantasy drawings provided opportunities for imaginative reworking of childhood experiences, allowing expression of latent wishes, fears, and curiosity. The act of rendering childhood memories and fantasies in visual form allowed access to embodied aspects of past experience and enabled new perspectives. Participants described the assignment as an insightful rediscovery and reevaluation of childhood. The study provides an enhanced understanding of how memory and fantasy drawings provide evocative access to lived dimensions of childhood among art students. The visual articulation and symbolic processing of remembered and imagined childhood experience facilitated self-reflection, emotional exploration and integration.

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Waters, Julia. "Lieu de mémoire, lieu d’oubli, lieu de réparation?" Francosphères 10, no. 1 (June 1, 2021): 43–62. http://dx.doi.org/10.3828/franc.2021.4.

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The destruction of the vernacular case créole has emerged as a striking, recurrent theme in contemporary Mauritian cultural production, as well as a cause of much heated public debate. Reflecting contrasting conceptions of a lieu de mémoire - linked, paradoxically, to processes of memory, loss, forgetting, and occlusion - this article explores the diverse representations of the colonial house and its destruction in recent artistic works (by Florent Beusse and Jano Couacaud) and novels (by J.M.G. Le Clézio and Gabrielle Wiehe). Initially, the artistic works appear to be motivated by a nostalgic yearning for ‘lost traditions, wrecked ways of life’ (Nora), but close analysis hints at a different story hidden behind the houses’ facades. In the literary imaginary, the destruction of colonial-era houses is portrayed not as the subject of nostalgia or regret, but as a necessary means of achieving long-overdue, symbolic reparation for historical injustices. As such, I argue, art and literature offer a site for revealing the ‘récits cachés de la mémoire nationale’ (Nora) - particularly around slavery - in the postcolonial present.

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Kustanovich, Konstantin. "The Unbearable Lightness of Being the Other: Myth and Nostalgia in Sots Art." Slavonica 9, no. 1 (April 2003): 3–17. http://dx.doi.org/10.1179/sla.2003.9.1.3.

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Lay, Howard. "Book Review: Modernity and Nostalgia: Art and Politics in France Between the Wars." Modernism/modernity 4, no. 1 (1997): 181–83. http://dx.doi.org/10.1353/mod.1997.0011.

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Vicinus, M. ""A LEGION OF GHOSTS": Vernon Lee (1856-1935) and the Art of Nostalgia." GLQ: A Journal of Lesbian and Gay Studies 10, no. 4 (January 1, 2004): 599–616. http://dx.doi.org/10.1215/10642684-10-4-599.

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