A nostalgia que me interessa aqui nao e meramente uma doenca individual, mas sim um sintoma de nossa epoca, uma emocao historica.
Segundo, nostalgia parece ser a saudade de um lugar, mas e na realidade um anseio por um tempo diferente--o tempo de nossa infancia, dos ritmos mais lentos de nossos sonhos.
Walder shows how Sebald's The Emigrants, The Rings of Saturn, Vertigo, and Austerlitz use references to shocking visual documentation of the past to reshape nostalgia into redemption: Sebald's achievement, like that of the emigre German-Jewish Max Ferber, embodies "an art of traces, tending toward dust or nothingness, and yet which survives through the act of creation, the telling, the writing" (100).
According to Walder, her perspective "as a diasporic subject" permits "the necessary detachment" from private memories, a detachment that "enables her to confront and begin to deal with her country's bitter history, not ignore it in favor of a soft-focus" representation of personal or Igbo nostalgia (125).
Communist nostalgia inevitably takes different forms in countries outside the eastern bloc, where the fraternal parties only exerted power at municipal level or in coalition at the national one.
Communist nostalgia can be a confused and confusing phenomenon.
Rovit, in particular, alludes to the chief distinction between Miller's use of nostalgia in earlier works and his adoption of a nostalgic pose in his later narratives.
The effect of this monologism brings Miller's restorative nostalgia to the fore.
Imperialist nostalgia always offers a version of history that is stripped of guilt and in order to attain such a goal it generally benefits from romance, the "nearest of all literary forms to the wish-fulfillment dream" (Frye 186) and as such it provides ground for a literary realization of otherwise unrealizable desires of ideologically engaged writers.
As a result, the very moment imperialism recognizes such a threat, it begins in the form of imperialist nostalgia to eulogize what it intentionally altered or destroyed (Rosaldo 109).
broader movement of nostalgia films seen over the past three decades, a
undeniably postmodern nostalgia films in Jameson's sense, rendering