Search Results (7)

Aging and elderly health issues have always been the focus of attention, both within and outside the industry. With the introduction of the national “14th Five-Year Plan” for healthy aging, it is urgent to address how to implement this plan. Among them, the restorative environment is an important part of implementing healthy aging. For older adults, “nostalgia” is a common emotional experience, and “nostalgia therapy” is also commonly used for mental health recovery, which has important significance for healthy aging. However, although existing research on “nostalgia” has already involved local attachment and the environment, there are few studies that use space as a carrier in the context of environmental restorative effects. Therefore, from the perspective of healthy aging, combined with structural equation modeling, this study took four parks in Changchun City as examples to explore the role of “nostalgia” in the restorative effect of the park environment. It found that, firstly, both the “nostalgia inclination” influenced by individual conditions and the “landscape perception” influenced by landscape quality had a positive impact on the “nostalgia affection”; secondly, nostalgia affection and place attachment were important mediating factors for environmental restorative effects, and the pathways of “landscape perception → nostalgic affection → environmental restorative effects”, “landscape perception → place attachment → environmental restorative effects”, and “landscape perception → nostalgic affection → place attachment → environmental restorative effects” all existed. Based on the above path exploration, corresponding spatial optimization ideas for effectively improving the health level of older adults have been provided. Full article

From the second half of the 20th century, numerous railways, especially in industrial and mining areas, were abandoned for economic reasons. The activism of the “railfans”, who are fond of trains, has made it possible to set up voluntary associations that have been the lifeblood of the beginning of projects for the recovery of the historic railway heritage and the promotion of it in a touristic sense. This topic is worthy of attention, and during recent years it has been the focus of several research papers. A systematic literature review was performed using the PRISMA (Preferred Reporting Items for Systematic Reviews and Meta-Analyzes) methodology. This tool is a minimal set of evidence-based elements aimed at helping authors to carry out a systematic literature review. This systematic literature review sought to consolidate knowledge on the subject. The research team formulated three research questions related to the dynamics of railway heritage recovery, the dynamics of railway tourism and the relationship between sustainability and railway tourism. The findings highlighted that the railway tourism process always originates from a project for the restoration of railway heritage, possibly maintaining authenticity. The voluntary associations, along with their “railfans”, are the main stakeholder, not only preserving the rail heritage but also developing railway tourism activities. The touristic railway could regenerate the local community, with positive benefits on the local economy. Many tourists could be attracted by railway tourism destinations in that they wish to live memorable experiences related to the nostalgia of the past. Full article

This article focuses on Richard Ford’s short story “Calling,” collected in the volume entitled A Multitude of Sins (2001). It consists of the detailed recalling by a first-person narrator, from the vantage point of adulthood, of a duck-hunting outing with his father at a moment of acute family crisis when he was still a teenager. This episode, redolent of America’s nostalgic motif of male bonding and father-son transmission in the midst of mythical American nature, is shown to have proved a pathetic failure at the time, and the story stages—to pick up Svetlana Boym’s famous distinction between two main types of nostalgia—the enlightening “reflective” effects of recalling this moment of “restorative” longing for the protagonist. However, the highly analytical narrator does not consciously dwell upon the peripheral yet disturbing presence of two grotesque characters that, I contend, are the locus of the implicit meaning of the text. Through precise textual reading and references to Southern Gothic, I indeed argue that the subtext of “Calling” invites the reader to journey back into a region’s (the South’s) troubled collective past and to question its own relation to nostalgia. “Calling” thus also stages the ambivalence of nostalgic longing on the collective plane as it shows willful nostalgic recollection wavering in the face of the return of the historical repressed, that of America’s ineffable original sin. Full article

This paper explores the notion of nostalgia in two recent Swedish narratives of transnational adoption: Christina Rickardsson’s Sluta aldrig gå, 2016, (published in English as Never Stop Walking in 2017), and Cilla Naumann’s Bära barnet hem (“Carrying the Child Home”, 2015). The two narratives deal with adoption from South America to Sweden, include autobiographical content, and enable a comparison between an adoptee memoir (Rickardsson) and a parent-authored text (Naumann). Both texts center on maternal images, but the analysis suggests that Rickardsson’s narrative echoes the borderland nostalgia characteristic of adoptee writing. The adoptee memoirs, being reflective in mode and restorative in purpose, occupy a borderland between the two forms of nostalgia described by Boym (2001), while interrogating the temporal, spatial and affiliative boundaries of transnational adoption. Naumann’s nostalgic enterprise incorporates the mirrors, doubles and ghosts of reflective nostalgia. These representations are a fruitful means to represent the “other” family, and the alternative lives that were left behind in the process of adoption. Ultimately, her text suggests the limitations of the autobiographical mode and illustrates the capacity of fiction to provide a symbolic register in which to articulate the unspeakable aspects of adoption. Full article

This piece will introduce Czech ostalgic films set in the normalisation period (1969–1989) and will interpret the basic divide between nostalgic representation of the period and the openly anti-communist stances of the films’ creators. The methodological frame of this research comes from Robert Rosenstone’s approach of representation of history in film. To interpret ostalgia in Czech film, I use ideas from Daphne Berdhal and Svetlana Boym. I described the nostalgic elements and their functions in the structure of the films, taking into account their story, characters, settings, film style, narration, genre, and audience response (identification, causality of emotional experience). Czech ostalgic films about the normalisation period are interpretively ambivalent. The interpretational tension appears out of a fundamental divide between a clear refusal of communism and an idyllic view of the socialist past. They cannot be simply classified into restorative or reflective nostalgia. The younger generation of spectators perceives ostalgic films in the mode of reflective nostalgia; on the other hand, the older generation perceive the films in terms of restorative nostalgia. A different way of perceiving ostalgia reveals a misunderstanding between generations of the current Czech society. Due to singular anti-communist viewpoints and emphasised liberal values, the films cannot be interpreted in a desire for an idealised home in a communist past, but as a desire for a present home and its security, which cannot be clearly conceptualised. The concept of reflective nostalgia can be linked with the theory of Berdhal. The films cannot be perceived as a desire for an idealised home in a communist past due to specific anti-communist viewpoints and highlighted liberal values, but as a need for a home and security that cannot be directly conceptualised. This appearance of reflective nostalgia can be connected with the theory stated by Berdhal. Full article

If restorative nostalgia concentrates on national past and future and reflective nostalgia on individual memory (Boym 2001), Lars Gustafsson’s “Where the Alphabet Has Two Hundred Letters” does neither. This article argues that Gustafsson’s treatment of the past landscape is metanostalgic, in the sense that nostalgia is a theme and a means, rather than a sentiment, and that the way his tropic reinvention deals with nostalgia differs from other uses. Though the poem partakes in the pastoral tradition, it is less concerned with this mode and more concerned with the notion of ‘effect’, of which Gustafsson has written extensively. Gustafsson has also elaborated on the aspects of ‘centre’ and ‘periphery’, notions that are used to define and extend the poetic landscape and the speaker’s position in, and relation to, it. His poetic landscape encompasses the extremes of continents near and far, but also landscapes temporally removed, which may hold a different status in terms of their impact on ‘effect’, a status that is then not hinging on the obvious hierarchies of traditional nostalgia. Full article

This essay argues that the complexities of the nostalgic impulse in Hollywood cinema are inadequately described by Svetlana Boym’s particular description of Hollywood as “both induc[ing] nostalgia and offer[ing] a tranquilizer” and her highly influential general distinction between restorative and reflective nostalgia. Instead, it contends that Hollywood departs in important ways from the models of both the restorative nostalgia established by the heritage cinema and Great Britain and the reflective nostalgia commonly found in American literature. Using a wide range of examples from American cinema, American literature, and American culture, it considers the reasons why nostalgia occupies a different place and seeks different kinds of expressions in American culture than it does in other national cultures, examines the leading Hollywood genres in which restorative nostalgia appears and the distinctive ways those genres inflect it, and concludes by urging a closer analysis of the more complex, multi-laminated nostalgia Hollywood films offer as an alternative to Boym’s highly influential categorical dichotomy. Full article