全球化背景下的城市怀旧现象及地理学研究视角

现代化、全球化和城市化催生了当代的怀旧现象,城市怀旧已成为一种极其普遍的社会文化景观,并成为国内外学界关注的重要话题。通过对国内外文献的分析,总结了国内外城市怀旧现象的研究状况,以及文化地理学视角的研究进展。研究表明,城市怀旧研究已经渗透至诸多学科领域,国外文化地理学者从多个角度开展了城市怀旧的研究,但该研究在国内还十分鲜见。文章指出可以结合文化地理学及相关理论,从人地关系角度,分析城市怀旧文化的形成发展及其与城市文化生态环境的互动作用,探讨城市怀旧空间的生成、类型、特征、时空演变及其动力机制,解读城市怀旧文化景观对于城市怀旧空间的诠释以及地方认同的影响,以揭示在城市怀旧空间形成和演变过程中,城市记忆、地理想象、地方认同和建构的互动作用机理。认为城市怀旧的地理学研究将拓展我国城市文化地理学的研究视野,并对城市更新、历史街区的保护和复兴提供重要的理论支撑和决策依据。     

Miyazaki Hayao and the Aesthetics of Imagination: Nostalgia and Memory in Spirited Away

Miyazaki Hayao has achieved international renown for a succession of feature-long animations that have been noted for their visual flair and highly imaginative world-constructs. Many of the narratives in these films have been situated in fantasy worlds with often only a tenuous representation of the world as experienced in some conventional contemporary (or historical) sense. Yet beyond the surface of these figures and fantastical plot devices there is a clearly discernible stream of engagement with the past. Focusing primarily on Sen to Chihiro no Kamikakushi (Spirited Away) of 2001, this paper critically engages with the leading commentaries on nostalgia and memory in Miyazaki’s work, contrasting the “culturalist” approach of Susan Napier with the “machinic” approach of Thomas Lamarre. In turn, the aesthetic theory of R.G. Collingwood, in particular his concept of “magic”, is employed to demonstrate how certain aesthetic devices within the film facilitate an imaginative engagement with the past, one that is subtle but nonetheless highly evocative of distinctive nostalgic emotions.     

怀旧情感对历史文化街区游客环境责任行为的影响研究——感知价值和地方依恋的中介作用

伴随着历史文化街区旅游可持续发展的现实需要,本研究从怀旧情感出发,以感知价值和地方依恋为中介变量,构建历史文化街区游客的环境责任行为影响机制,以广州市荔湾区历史文化街区为例,运用结构方程模型的方法对346份有效问卷进行分析,结果表明：①游客怀旧情感并未对其环境责任行为产生显著的直接影响;②游客怀旧情感对其环境责任行为的影响机制主要是通过“怀旧情感→地方依恋→环境责任行为”和“怀旧情感→感知价值→地方依恋→环境责任行为”两条间接路径实现;③感知价值在怀旧情感与环境责任行为之间不存在单独中介效应。研究对历史文化型旅游地游客环境责任行为的形成机制进行有益探讨,并为改善历史文化街区的卫生环境提供了有意义的管理建议。     

Molly Bloom’s nostalgic reverie: a phenomenology of Modernist longing

ABSTRACT

I propose to reverse the prevailing understanding of the novel’s concluding episode, “Penelope,” as affirming and optimistic, and instead situate it as the wellspring of Modernist nostalgia. This darker reading of Molly Bloom’s nostalgic reverie depends, as we will see, upon Molly’s resonant psychological ties to her mythological antecedent: Homer’s Penelope. Despite Molly’s manipulative, contradictory, and at times self-deceptive consciousness, scholars still tend to read her famous final utterance as one of firm affirmation. Taking into consideration her semblance to Homer’s Penelope, Molly’s final “Yes” is likely less sanguine than previously considered. And even my own “reading” may confine her role too narrowly. Nevertheless, we should establish this countersign as a means of exploring the consequences of her nostalgic reverie.     

Notes from a French perspective

This article uses John Kingdon's “multiple streams” model of the policy process to explore the role of French public intellectuals in processes of cultural and educational policy formation. The relative autonomy attributed by Kingdon to the “primeval soup” of ideas constituted by the policy stream (as distinct from the “problems” and “politics” streams posited by his model) provides the basis for this exploration. However, Kingdon's model is not developed with any reference to France, public intellectuals or cultural policy. The corresponding adjustments required are themselves enlightening. Public intellectuals must thus be distinguished from policy experts. They are characterised by their public visibility, the broad frame of reference that they bring to bear on the issues of the moment, certain limitations in technical expertise, and a capacity not simply to work through policy alternatives, but also to project their own counter‐agendas. These issues are explored particularly in relation to a selection of policy reports produced by public intellectuals.     

Creative shifts and directions

The availability and “readiness” of culture as a mode of governmental control makes cultural policy a matter of great importance in any contemporary society. This is true not only in liberal democracies with established arts councils or cultural policies, it is also proactively pursued by a technologically advanced yet illiberal regime like Singapore, eager to position itself as the global “Renaissance City” of the twenty‐first century. What this “renaissance” model entails remains highly cryptic, not least because cultural terms and political markers are often elusive, but also because the very concept of “cultural policy” shifts along with the political and economic tides in Singapore. Drawing on a rarely cited essay by Raymond Williams, this article offers an historical look at cultural policy in Singapore – from its first articulation in 1978 to its present standing under the rubric of “creative industries” (2002). It considers some of the problems encountered and the societal changes made to accommodate Singapore’s new creative direction, all for the sake of ensuring Singapore’s continued economic dynamism. This article contends that cultural policy in Singapore now involves extracting creative energies – and economies – out of each loosely termed “creative worker” by heralding the economic potential of the arts, media, culture and the creative sectors, but concomitantly marking boundaries of political exchange. In this regard, culture in Singapore has become more than ever a site for governmentality and control.     

Conversion by the Numbers: Benefits and Pitfalls of Quantitative Modelling in the Study of Early Christian Growth

Proponents and critics of numerically modelling early Christian growth have missed many complexities of this approach. This study re‐examines quantitative modelling by conducting “thought experiments,” built from initial assumptions to population projections. First, an “apostolic mission” model assumes that Christianity grew via persuasive leaders; it projects a cubic growth curve. Second, a “values reproduction” model ties higher reproduction and conversion to certain Christian values; it projects an exponential curve. Next, a “social reaction” model links growth to interconfessional interactions; it projects a logistic curve. Such formal models reveal numerical parameters of conversion and the impact of various assumptions. Together, they illustrate the variability of early Christian population projections. They also showcase limitations of traditional quantitative modelling, which tends to oversimplify social conditions, to mischaracterise ancient religion, and to inspire teleological reasoning. Newer “network” models can overcome only some of these limitations. Used carefully, however, quantitative methods supplement familiar socio‐cultural approaches.     

1. THE MEANINGS OF NOSTALGIA: GENEALOGY AND CRITIQUE

Nostalgia has become a new master narrative both in public discourse and academic research, serving as an explanation for trends in fields as different as popular culture, fashion, technology, and politics. This essay criticizes the wide‐ranging use of the term. It argues that nostalgia often does not adequately describe the diverse uses of the past to which it is applied. It does this by historicizing the nostalgia discourse with particular emphasis on the 1970s, when dictionaries first noted a semantic shift from homesickness to a sentimental yearning for the past, and intellectuals discussed a widespread, pathological “nostalgia wave.” After the introduction, the second section looks at the changing meanings of nostalgia, the third examines how the “nostalgia wave” was seen to manifest itself and who was thought to be afflicted by it, and the fourth discusses contemporary explanations. Building on this, the final section critically examines the nostalgia discourse before evaluating its continuing influence.     

Spaces of nostalgia: the hollowing out of a London market

In this paper we look at the place of memory and nostalgia in peoples' narratives of an old, traditionally white, working-class market in London, which over the last decade has experienced social and economic decline. We argue that in this hollowed out space, abandoned by many of those who can move, has emerged a nostalgia for the halcyon days of the market when people came from far and wide to shop, and when there was a strong sense of community. What these nostalgic discourses mask are the social divisions (particularly racialized divisions) of the time, while in this romanticized vision of the past, the new population of asylum seekers have become an easy trope for the dissatisfactions of the present. Regeneration strategies in an area such as this need to confront the force of these nostalgic discourses in order to tackle the deep social and racial divisions and reverse the socio-economic decline.     

Nostalgia as Affective Landscape: Negotiating Displacement in the “World City”

Bangalore, an aspiring “world city”, is rapidly transforming as factories and mills are sold to private developers. As their neighbourhoods now accommodate multi-million-dollar gated communities and post-industrial labour markets, residents experience an in situ displacement, staying in place while landscapes around them dramatically reconfigure. This paper makes sense of how old-time residents locate themselves within such urban growth through nostalgic invocations of the past. Emplaced within histories and geographies of neighbourhood change, nostalgia creates “affective landscapes” through which residents invoke their closeness to past landscapes of abundance and involvement in community-making. Such affective landscapes bring together embodied, sensorial, and more-than-human fields of action to shape an everyday politics in which residents narrate their marginalization within the world city and articulate their own value here.     

The sound of yesteryear on display: a rethinking of nostalgia as a strategy for exhibiting pop/rock heritage

The increasing presentation of popular music culture as heritage is manifested in the recent proliferation of museums of pop/rock culture. This calls for an examination of the current practices of disseminating pop/rock heritage through exhibitions. Two trends have been identified and criticised by previous commentators: first, the prominence of nostalgia in exhibition narratives and second, that exhibitions of popular music tend to display ancillary objects rather than music itself. This article offers a rethinking of nostalgia as a strategy for disseminating pop/rock heritage and explores the potential of music as a trigger for nostalgic experiences in exhibitions. While agreeing with much of the critique levelled at the nostalgic approach to pop/rock culture, we suggest that with a more nuanced conception of reflective nostalgia, the affective appeal of the nostalgic approach can be harnessed without giving in to glamourised oversimplifications of the past. Further, we suggest that mediated memories can form the basis of nostalgic feelings and thus enable the nostalgic approach to span the generational gap and engage visitors who do not have a lived experience of pop/rock heritage. We will illustrate this by contrasting our approach to that taken at ABBA The Museum.     

Diasporic identifications: exile,nostalgia and the Famine past in Irish and Irish North-American popular fiction, 1871–1891

During the nineteenth century, “exile” became a key term to describe the Irish-diasporic community in North America. More recently, scholars in the fields of diaspora studies and Irish studies have described this community as a “victim diaspora” with connotations of forced expulsion, exile, and nostalgia for the homeland. Moreover, among scholars and within the Irish-American community, the notion exists that the Great Irish Famine (1845–1851) constitutes the Irish-American “charter myth”, that it was the starting point of an Irish-American identity. This article sheds a different light on these (self-)identifications by discussing the concepts of origin myth, exile and nostalgia and also considers the concept of diasporic belonging in the context of Irish and Irish North-American works of popular “Famine fiction” written between 1871 and 1891. Consequently, the impact of these late nineteenth-century literary considerations on present-day conceptualisations of the Irish-American community as a victim diaspora are discussed.     

A historiography of an ahistoricity: on the beothuk indians

The Beothuk Indians of Newfoundland have long been perceived as a cultural anachronism in the native history of northeastern North America. They appeared to represent cultural holdovers from some earlier age that had been preserved in a primitive state due to isolation on a cold North Atlantic isle. To many, their history seemed shallow, timeless even. Those that supported this position did so by drawing on four lines of evidence. They interpreted Beothuk material culture and other cultural “traits” as indicative of an archaic state; they cited the Beothuk's place of residence‐a northern island‐as evidence of isolation from other peoples and the march of time; they cited linguistic differences as further evidence of isolation; and finally, the fact that the Beothuk became extinct seemed to offer proof that these people had indeed belonged to another age, incapable of making the leap from prehistory to the modern era. This article explores this evidence and attempts to understand the “logic” or rationale by which scholars come to view the Beothuk and their history as timeless.     

Les Hommes nouveaux (Marcel L’Herbier, 1936): Nostalgia,masculinity and the French colonial film of the 1930s

This article examines the meaning of nostalgia and some of the reasons why the France of the 1930s was prone to nostalgic longings. It then considers why the colonial film lends itself to the expression of these nostalgic feelings whilst also pointing to some of the paradoxes attached to such an endeavour. Finally, the article offers a study of Les Hommes nouveaux which focuses exclusively on the ‘biopic’ element of the film and on the kind of past that is reconstructed through the figure of Marshal Lyautey, as well as on the exclusions necessary for the preservation of ideological harmony.     

关于“乡愁”的空间道德和地方道德评价

乡愁涉及空间和地方,且与人之情感密切关联,故关于乡愁的研究与地理学密切相关。文化的重要功能之一就是指引人们的空间实践。文化地理学的任务之一则是从文化上理解和评判空间和地方的现象。本文分析立场是人文主义地理学,以及由之派生的道德地理学。本文从空间和地方两个维度分析乡愁的背后的道德,并列举了较为成功的乡愁实践案例。归纳出的结论有三:第一,乡愁的道德具有大小、距离、移动性的空间维度。第二,乡愁的道德具有身体层面、经验层面和社会建构层面的地方性质。第三,无论是空间道德评价还是地方道德评价,都在回答对自己、对他者、对自然的态度,在评判留住乡愁的空间规划实践是否"合理"。本文最后提出了文化地理学关于乡愁空间道德和地方道德的分析框架,以供读者讨论。     

国内外乡愁相关研究进展及启示

对国内外已有的乡愁相关研究进行了梳理,并结合自身学科背景,从旅游地乡愁建设角度,提出几点未来研究方向。研究发现,对乡愁内涵的认识,经历了从单纯可治愈的生理病症、到复杂的心理学现象、再到对现代话反思三个阶段。国外从心理学、神经科学、经济学、社会学、消费者行为学、文学、民俗学、地理学等角度,已形成对乡愁情感本身、乡愁的触发要素、影响乡愁体验的因素、乡愁在实践中的应用的系统研究。我国乡愁研究起步较晚,早期主要集中在文学和社会学领域,2013年后,乡愁逐渐得到地理学、建筑学、民俗学等多学科的关注,目前在乡愁的概念界定、乡愁的理论化、乡愁的触发要素识别、乡愁价值开发等方面形成了初步成果。     

Babi–Baha'i Expansion and “Geo‐Cultural Breakthroughs”

Utilising the concept of “geo‐cultural breakthroughs,” the article briefly describes the process of Babi‐Baha'i expansion, tracing the way in which the early Babi movement was later transformed into the Baha'i Faith, and the Baha'i movement itself underwent a succession of massive transformations in the range and diversity of its following. Three main stages and three “worlds” of expansion are identified: (i) an initial “Islamic” stage (1844–c. 1892), in which Babism and the early Baha'i movement were largely confined to the environing culture and society of the Islamic Middle East and its cultural extensions; (ii) an “international” stage (c. 1892–c. 1953), during which Baha'i missionary expansion succeeded in transcending the religion's Islamic roots, in particular by gaining a small but intensely active Western following; and (iii) the present “global” stage from about 1953 onwards, in which the Baha'i Faith has begun to assume the characteristics of a small‐scale world religion, with larger numbers of adherents having been gained, particularly in some parts of Africa, Asia, and Latin America, regions outside of both the religion's original Islamic heartland and the West.     

THE CONCEPT “SYSTEM OF PHILOSOPHY”: THE CASE OF JACOB BRUCKER'S HISTORIOGRAPHY OF PHILOSOPHY1

In this essay I examine and discuss the concept “system of philosophy” as a methodological tool in the history of philosophy; I do so in two moves. First I analyze the historical origin of the concept in the seventeenth and eighteenth centuries. Thereafter I undertake a discussion of its methodological weaknesses–a discussion that is not only relevant to the writing of history of philosophy in the seventeenth and eighteenth centuries, but also to the writing of history of philosophy in our times, where the concept remains an important methodological tool. My first move is to analyze Jacob Brucker's employment of the concept in his influential history of philosophy, Historia critica philosophiae, dating from 1742–1744. To Brucker, a “system of philosophy” is characterized by the following four features: (a) it is autonomous in regard to other, non‐philosophical disciplines; (b) all doctrines stated within the various branches of philosophy can be deduced from one principle; (c) as an autonomous system it comprises all branches of philosophy; (d) the doctrines stated within these various branches of philosophy are internally coherent. Brucker employed the concept on the entire history of philosophy, and he gave it a defining role in regard to two other methodological concepts, namely “eclecticism” and “syncretism,” which he regarded as more or less successful forms of systematic philosophy. My second move is to point out the weakness of the concept of “system of philosophy” as a methodological tool in the history of philosophy. I argue that the interdisciplinary nature of much premodern philosophy makes Brucker's methodological concept “system of philosophy” inadequate, and that we may be better off leaving it behind in our future exploration of premodern philosophy.     

CULTURAL EVOLUTION AND SOCIAL METABOLISM

The emergence of culture and cultural evolution is the result of an evolutionary process, evident also in non‐human species. What is specifically human is the dominance of cultural evolution. This does not mean that cultural evolution has replaced organic evolution, but rather that both have merged into one coevolutionary complex. Through niche construction, organic modern humans are the product of cultural evolution. This cannot be explained by adaptation to natural environment or by sexual selection. Cultural evolution with its coevolved organic traits did not so much enhance competence towards the natural environment as it did competence to develop and maintain cooperation. In the process, culture became a “system” with its own imperatives and integrating forces, differentiating into several autopoietic subsystems: the symbolic‐cognitive subsystem, the economic subsystem and the political subsystem. There are however social‐metabolic constraints that put limits on their evolutionary degrees of freedom. Culture's autopoietic reach has adaptive boundaries. The concept of social metabolism attempts to capture the unity of “persons” in a physical‐biological sense and “culture” in a symbolic sense, the decisive point being that culture must be understood as an autopoietic system sui generis. The social‐metabolic system of relations and interactions between nature, human population and culture is inherently coevolutionary. The history of social metabolism is the history of the coevolution of two autopoietic systems – an open and blind non‐orthogenetic evolutionary process.