The Legitimacy of Nostalgia

In Fractured Republic, Yuval Levin criticizes nostalgia as obstacle to conservative reforms. This essay defends nostalgia as a indispensable element of politics. Rather than dismissing nostalgia, we should attempt use it, guided by the virtue of prudence. Shakespeare, Tocqueville, Mencken, and Dos Passos provide models of this prudent nostalgia.     

Nostalgia for Rabaul1

In September 1994, an eruption of the Rabaul Volcano in East New Britain, Papua New Guinea, devastated the town of Rabaul and many surrounding Tolai villages. Many villagers were resettled or lived in refugee camps far from their homes. Many non-Tolai residents of Rabaul were repatriated to other parts of Papua New Guinea. Tolai villagers and former residents of Rabaul, be they Papua New Guineans or expatriates, mourned the passing of ‘Rabaul’. This article examines the different nostalgias for Rabaul which are articulated in the Australian print media, by Tolai villagers, and by migrants from the Sepik provinces who had lived in Rabaul prior to the eruption. The article concludes with a reflection on Rabaul as a symbol for the Papua New Guinean nation.     

The Time and Place of Nostalgia: Re-situating a French Disease

The history of nostalgia as a clinical category has many highly specific national stories. This paper traces an aspect of this history, examining aspects of nostalgia's changing meanings in nineteenth-century France. Nostalgia was a disease triggered by displacement, which became medically and politically important after the French Revolution, when military surgeons encountered epidemics of nostalgia in the armed forces. Understood as a form of pathological homesickness, the category straddled environmental medicine and emerging ideas about insanity. The diagnosis became particularly important to Idéologue writers as a case study in regulating and redirecting the emotions, demonstrating the efficacy of their new "moral" treatments and an ability to generate patriotic attachment to the new nation state. Over the course of the century, nostalgia disintegrated as a medical condition reflecting a decline in environmental explanations for disease within medicine, and increasingly plastic meanings attached to nostalgic desire.     

廿八都的军统旧梦

"那些女孩子大的不过20岁,小的只有16岁,都是从上海、杭州这些大城市逃难来廿八都的,那是1941年的春天,我不过十七、八岁,天天到这片操场看她们练习打靶,好漂亮的姑娘.我还看见戴笠陪着梅勒斯来视察过,就住在姜守全旧宅,可惜当年秋天,日寇攻陷了廿八都,我们的眼福也就到头了".     

"台独"势力的"日本情结"问题

“台独”分子有一个共同的特性,就是都具有浓厚的“日本情结”,这也是驱动“台独”势力长期不遗余力从事分裂祖国活动和造成台湾问题久拖不决的重要因素。究其原因,主要有二：1、日本对台湾50年的殖民统治,特别是它所发动的“皇民化运动”的久远影响,是导致“台独”势力“日本情结”产生的历史原因;2、“台独”势力出于台湾“独立”的欲求,急需取得外部势力特别是与台湾渊源甚深的日本右翼势力的支持,这是“台独”势力“日本情结”产生的现实原因,也是主要原因。     

Materialities of Nostalgia at the Old Homestead

This paper reflects on processes of memory- and history-making at the Elihu Akin House, a historic site in a New England coastal village. Since the late 18th century, the house has been a place of dwelling and deliberate recollection. Recent archaeological excavations, a 1922 silent movie, and an Akin son’s 1778 letter represent multiple media, periods, and perspectives, for which the house serves as a touchstone. These three occasions comprise an archive of nostalgia. Remembrance is repeatedly filtered through and entangled with in-process experiences. The material and emotional are mutually constituted as the house is reinvested with significance. Understanding these processes has implications as the site is developed into a heritage center striving to present not only local and regional history, but also the methods and challenges of heritage management.     

Disciplining the Past, Policing the Present: The Postcolonial Landscape of Ecuadorian Nostalgia

The present article assesses the complex reconfiguration that studying the past signifies when one becomes visibly aware of the enormous political and cultural implications that such an endeavor entails. To this end, I will use the Ecuadorian landscape as an entry point or particular case to understand these larger theoretical problematics within a more empirically grounded ethnographic framework. I will rely heavily on my own previous assessments of particular reconfigurations of the past in the Ecuadorian imaginary through the production of the archaeological site of Cochasquí (Benavides, Making Ecuadorian Histories: Four Centuries of Defining Power, 2004a); the Indian movement’s historical recovery of their pre-Hispanic past; the representation of a troubling pre-Hispanic homosexual harem of young coastal boys known as the enchaquirados; and the more recent representation of Guayaquil’s national identity over the last century. All of these studies have viewed the manner in which the differing communities of the Ecuadorian nation-state utilize the past in conscious and unconscious forms to legitimize their own political ambitions. More concretely even, these studies exemplify the manner in which archaeological discourse is used to identify itself as the most rightful heir to assessing and understanding the national past, and ultimately, defining what being Ecuadorian means or should be all about.     

Nostalgia and Titanic commemorations in Cobh,Ireland

The year 2012 marked the centenary of the sinking of the liner Titanic. This event has been commemorated in a variety of ways, including the development of “authentic” and “created” tourist projects related to Titanic. This research presents one location's tourist response to the centenary. The heritage town of Cobh in Ireland was the last port of call for the ill-fated liner. Its commemorative activities focused on a week-long festival of cultural events from 9 to 15 April. It will be contended that its use of nostalgia and “vintage” can be interpreted more as a function of the interpretative agenda of Irish tourism policy and its heritage construction of Cobh than as a genuine symbolic expression of a town remembering its past.     

The Ministry of Works and the Development of Souvenir Guides from 1955

The first formal guidebooks for historic sites placed in state guardianship in the United Kingdom appeared in 1917. There was an expansion of the series in the 1930s and 1950s. However, from the late 1950s the Ministry of Works, and later the Ministry of Public Buildings and Works, started to produce an additional series of illustrated souvenir guides. One distinct group covered Royal Palaces: the Tower of London, Hampton Court Palace, Queen Victoria’s residence of Osborne House on the Isle of Wight, and Holyroodhouse in Edinburgh. This was followed by guides for archaeological sites such as Stonehenge and Avebury, the Neolithic flint mines at Grime’s Graves, the Roman villa at Lullingstone, and Hadrian’s Wall. In 1961, a series of guides, with covers designed by Kyffin Williams, was produced for the English castles constructed in North Wales. These illustrated guides, some with colour, prepared the way for the fully designed guides now produced by English Heritage, Cadw, and Historic Environment Scotland.     

Memory and Nostalgia in Antonio Tabucchi's Last Two Books

In Il tempo invecchia in fretta, a collection of short stories (2009), and in Viaggi e altri viaggi, a travel book (2010), the Italian novelist Antonio Tabucchi (1943–2012) investigates the conflict between interior time, or duration, and social, or historical time. Il tempo invecchia interrogates the dialectic between individual lives and grand historical processes. Viaggi—Tabucchi's intellectual autobiography—retrieves the past, which exists in the present as memory, so as to counter the “eternal present” of media time and its humus, consumerism, and provide a sense, or direction, to future decision making. Both volumes demonstrate a form of social commitment that is not Sartrean—that interrogates the present while abstaining from proposing solutions—but is well suited to our times: by bringing together narrative remnants of the past in the present of memory, Tabucchi attempts to give the present a sense and a direction to the future. These altrove altrui (the elsewheres of others) provoke a feeling of “nostalgia for the future,” a yearning for what never was, but still might be: a new social and moral order.     

Choosing What to Remember in Neoliberal Singapore: The Singapore Story,State Censorship and State-Sponsored Nostalgia

This article interrogates the persistence of heavy-handed censorship of political films in Singapore at a time of cultural liberalisation when the state has generally shown greater tolerance for alternative political expression in theatre, the literary arts, academia and public events. Part of this has to do with the focus of these films on political dissidents and their greater capacity to present a fundamental challenge to The Singapore Story, which is the regime-legitimising official account of Singapore’s history. It also has to do with the power and outreach of relatively low-budget independent films and the documentary genre in particular to evoke alternative histories vividly, give voice to the silenced, and channel these voices digitally into the collective cinematic and social media experience of the present. With the jubilee celebrations of 2015, the ruling party has been working hard to regain hegemony after experiencing its worst electoral losses in the 2011 general elections. Its main approach for achieving this has been to sponsor widespread national nostalgia coupled with highly selective censorship of political films that challenge the dominant official discourse in ways that can erode the government’s electoral dominance and political authority.     

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.