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.     

Assembling nostalgia: devices for affective captation on the re:heritage market

This article builds on the current rethinking of nostalgia in heritage studies and an increasing amount of research that explores the formatting of customer – producer relationships in terms of ’market attachments’ to analyse how nostalgia is performative on the market for retro, vintage and second hand, what we call the re:heritage market. Based on a multi-sited study including offline and online ethnographic observations, photography and qualitative interviews with shop owners and staff at a selection of central streets in Gothenburg, Sweden, the article explores the way shop owners work with nostalgia in order to attract, or ‘captate’, the public, through engaging affective market devices. Our particular contribution is to show how the re:heritage market contribute to our understanding of an alternative of cultural heritage, through configuring exchange and value, and details how ‘affective captation’ adds conceptual strength for understanding the emotive and sensate pull of certain market-based heritage practices. Staging nostalgic encounters involves practices of selecting, collecting, displaying and preserving for the future: practices that are vital for all heritage-making. A variety of actors are involved in this unconventional of heritage at safe a distance from traditional heritage practices.