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The purpose of this study is to identify the core of the problem of why the democratization in Russia didn’t achieve a full consolidation after the Soviet Union fell as well as why the country returned to an authoritarian regime. This is a theory based study, where the two theories are tested against the case of Russia in 1991-2004. This, in order to find a common factor in response to the questions. The chosen time perspective is based on Gorbachev's resignation until Putin's first term of office. The theories used are Linz and Stepan's five arenas for a successful consolidation of democracy and Huntington's theory of authoritarian nostalgia. Since the theories will be tested and found support in different texts, the method used is a qualitative text analysis, more specifically a content analysis. The result indicates that the lack of economic stability is a major issue that plays a central role. Unless this criteria is met, there will be no successful consolidation in the country and a backlash to the authoritarian regime will happen. In conclusion, the study also shows common factors in both theories that are of an explanatory element to the study's existing problem.

The use of nostalgia has become a feature in baseball ballparks in recent years, with research showcasing the prevalence of nostalgic stimuli including bricks, steel beams, and old-fashioned scoreboards popular in the past. The impact of such stimuli on spectators’ emotions and behavior had yet to be explored, though. Therefore, the purpose of the current study was to investigate the impact of nostalgia on minor league baseball spectator emotional and behavioral responses. Data collection occurred at three minor league baseball games during June 2017. Utilizing the SOR framework (Mehrabian & Russell, 1974) as the theoretical foundation, a 39-item instrument was constructed by adapting items from previously-constructed surveys in the contexts of sport and general consumer behavior. Using systematic random sampling, a total of 232 completed and usable surveys were collected. To investigate the impact of nostalgia on spectators’ emotional responses, structural equation modeling was utilized. The study sought to specifically examine whether nostalgia evoked through spectators’ senses (sight, smell, sound, taste, and touch) and social interaction impacted their pleasure. Results showed that only social interaction was a significant positive predictor of pleasure, with sight a significant negative predictor of pleasure. A significant, positive relationship between pleasure and spectator’s behavioral intentions was also found. Finally, the study explored whether spectators’ arousal moderated the relationship between pleasure and arousal. The results displayed that arousal did not significantly moderate this relationship, with pleasure and arousal maintaining a strong correlation. Results and implications of the study are discussed, with suggestions for future research provided.

In this dissertation, I examine the evolution of the Gypsy trope in Romantic French literature at a time when nostalgia became a powerful aesthetic and political tool used by varying sides of an ideological war. Long considered a transient outsider who did not view time or privilege the past in the same way Europeans did, the Gypsy, I argue, became a useful way for France's writers to contain and tame the transience they felt interrupted nostalgia's attempt to recapture a lost past. My work specifically looks at the development of this trope within a thirty-year period that begins in 1823, just before Charles X became France's last Bourbon king, and ends just after Louis-Napoleon declared himself Emperor of France in 1852. Beginning with Quentin Durward (1823), Walter Scott's first historical novel about France, and the French novel that looked to it for inspiration, Victor Hugo's Notre-Dame de Paris (1831), I show how the Gypsy became a character that communicated a fear that France was recklessly forgetting and destroying the monuments and narratives that had long preserved its pre-revolutionary past. While these novels became models in how nostalgia could be deployed to seduce France back into a relationship with a particular past, I also look at how the Gypsy trope is transformed some fifteen years later when nostalgia for Napoleon nearly leads France into two international conflicts and eventually traps the French into what George Sand called a dangerous "bail avec le pass&eacute." In new readings of Prosper Mérimée's Carmen (1845) and George Sand's La Filleule (1853), I argue that both authors personify the dangers of recapturing the past, albeit in two very different ways. While Mérimée makes nostalgia and the Gypsy accomplices, George Sand gives France an admirable Gypsy heroine, a young woman who offers readers a way out of nostalgia's viscous circle. I conclude by arguing that nostalgia and this Romantic trope found their way back into France at the dawn of a new millennium, and the Gypsy has once again been typecast in art and politics as deviant for refusing to dwell in or on the past. / Romance Languages and Literatures

My exhibition draws on Andreas Huyssen's notion of memory sculpture to articulate my own sense of loss and trauma, due to the divorce of my parents. Within my work I explore the effects that divorce had on me and how it has disturbed my normative understanding of home and family. I have created scenarios alluding to the family home that I have manipulated in order to convey a sense of nostalgia and loss. By growing salt crystals over found objects and/or cladding them in salt, I attempt to suggest the dual motifs of preservation (a nostalgic clinging to the past) and destruction (due to the salt’s corrosive properties). In this way, the salt-crusted objects serve as a metaphor for a memory that has become stagnant, and is both destructive and regressive. The objects encapsulate the mind’s coping methods to loss. In my mini thesis, I discuss characteristics of memory sculpture as a response to trauma, drawing on Sigmund Freud's differentiation between mourning and melancholia. I also unpack how objects and traces (such as photographs) may act as nostalgic triggers, inducing a state of melancholic attachment to an idealised past. I address these concerns in relation to selected works by Doris Salcedo and Bridget Baker, and also situate them in relation to my own art practice.

Between 1950s and 1990s, Hong Kong had a frenzy for writing and re-writing materials from classical literature and myths. The myth of Madame White Snake is one of the most well known stories that survived a long period of time. The earliest known version of Madame White Snake was a supernatural story in 1550, which later became a prototype of numerous subsequent versions starting in 1624. This prototype was repeatedly re-written throughout history and was also made into different genres including plays, playlets, novels, films and television dramas. One of the latest versions was written by Li Pikwah, a popular novelist in Hong Kong, in 1993, titled, Green Snake. Green Snake is a parody of Madame White Snake written from the perspective of Little Green, the servant of Madame White and an auxiliary figure in the tradition. The novel is also an autobiography of Little Green, who satirically criticizes the story of Madame White Snake in retrospect. Little Green’s autobiography is a nostalgic reflection of the past as well as a critique of the structure of the story that has survived throughout history. These implications made in the story hint at the author’s personal yearning for traditional China as a Chinese resident in Hong Kong. Her nostalgia for traditional China is not idealistic but paradoxical, because her re-writing of the story was an avenue to understand and re-negotiate her identity. Li is also well-known for her other novels, which are parodies of classical literature, traditional myth and legend. Many of these works were also made into films in the 80’s and 90’s. These novels and films were part of a phenomenon in contemporary Hong Kong literary and popular culture that tried to grasp a cultural connection with traditional China in order to embrace the return to mainland China in 1997 after a hundred years of British colonial rule. / Arts, Faculty of / Asian Studies, Department of / Graduate

Current scholarship recognizes that music is a powerful channel that can manifest individual identity. But such research takes for granted music as a symbol of collective cultural identity, and, therefore, neglects examining how music in general, but musical performance in particular, functions to produce and reproduce a society at large. Indeed, what is missing is a rigorous understanding of not only how the act of performing forms collective identity, but also how it acts as an agency, indeed, perhaps the only agency that enables this process. As Thomas Turino suggests, externalized musical practice can facilitate the creation of emergent cultural identities, and help in forming life in new cultural surroundings. The present thesis examines the dynamics between cultural identity and music from the perspective of the performing musician. By examining musical situations in the context of the Armenian – Canadian diaspora, I will show how performers themselves both evoke feelings of nostalgia for the homeland and maintain the traditions of their culture through the performance event, while simultaneously serving as cultural ambassadors for the Armenian – Canadian community. My thesis outlines four key themes that are crucial in understanding the roles of musicians in Armenian culture. They are tradition bearer, educator, cultural ambassador, and artisan. As boundaries between peoples and nations progressively blur, I conclude that performance proves a vital medium where a search for national identity can occur, frequently resulting in the realization of one’s ethnic identity. Ultimately, without the labors of the performing musician, music would be unable to do the social work that is necessary in forming cultural, social, or even personal identities.

A two-way bond between translation and migration has appeared in the most recent texts in the social sciences and humanities: this connection between the two is exemplified by the mobility metaphor, which considers both practices as journeys across cultural, linguistic and geographical borders. Among the different ways this mobility metaphor can be studied, two particular areas of investigation are of interest for this research: firstly, migrant writing, a literary genre shaped from the increasing migratory movements worldwide; the second area of interest is literary translation, the activity that shapes the way these narratives are disseminated beyond the linguistic borders they were produced in. My investigation into the role of literary translation in the construction and circulation of a migrant discourse starts with the claim that writing and translation in itinerant contexts are driven by, and participate in, the idea of the journey: an interlingual and intercultural flow regulated by social/economic/artistic constraints, a movement in which the migrant experience is ‘translated’ in writing and then ‘migrated’ across languages and spaces. The present analysis focuses on the representative case study of migrant narratives by Canadian writers of Italian descent: their shared reflections on the themes of nostalgia and the mythical search for roots, together with a set of specific linguistic devices – hybridity, juxtaposition of languages, idiolects and registers – create a distinctive literary migrant discourse, that of the return to the land of origin. Guided primarily by the theoretical framework of Cultural Studies, the first part of this work seeks to illustrate how thematic and linguistic elements contribute to the construction of a homecoming discourse in original migrant narratives, and how this relates to the translation practice. Subsequently, the analysis moves to the examination of how these motives are reproduced in the translated texts, and what is/are the key rationale/s behind the translation of this type of works. Ultimately, my research takes a sociologically informed interest in the influence of translation and its agents in endorsing and/or manipulating this rationale in the receiving culture. In fact, this research aims to represent equally the human and cultural-linguistic aspects that affect these translational journeys, concentrating, firstly, on the actors (authors and literary translators) and the social and artistic environments that surround the production of both the source and target texts and, subsequently, on the texts themselves.

Typically nostalgia has been a valuable sales and marketing tool that has extended the life cycle of legacy brands. This study sought to determine how nostalgia could be leveraged to increase the willingness of consumers to adopt new brands. Support was sought to confirm that a positive impact of nostalgia as an influencing factor is that it increases consumer willingness to adopt new brands in emerging markets characterised by rapid social mobility This research clearly differentiated between the factors that drive consumption of physical products in relation the drivers of consumption of intangible services and illustrated that the benefits conspicuous consumption triggered by past deprivation is not limited to the acquisition of physical products. The results of this qualitative research, which was conducted through face-to-face in-depth interviews with south African consumers, provides new insights that can be used by businesses to leverage the ability of nostalgia to drive exploratory consumer behaviour and growth in emerging markets where upward social mobility has resulted in increased spending power. Additionally the research found that the advent of social media has facilitated the development of nostalgic, virtual, verbal consumption; essentially it can be regarded as an extension of word-of-mouth referral. This online socialisation is increasingly driven by the aspiration of the upwardly mobile populations that characterise emerging markets and is closely aligned with nostalgic memories from the past. In summary the findings of this research confirmed the ability of nostalgia to drive new brand adoption and demonstrated that through nostalgic virtual verbal socialisation, even non-tangible service and information goods are conspicuously consumed by the upwardly mobile consumers in South Africa. / Dissertation (MBA) --University of Pretoria, 2014. / zkgibs2015 / Gordon Institute of Business Science (GIBS) / MBA / Unrestricted

abstract: Many contemporary artists have turned to the past in order to negotiate and make sense of their relationship with the present. Similarly, museums have begun to look back in order to push forward and through a revisionist lens they scrutinize their collections and reveal ignored object histories. A prominent method some museums implement is allowing contemporary artists to comb through the vaults and present new relationships between their objects to their visitors. Through a psychological analysis of memory, and theorists’ dissection of nostalgia, object agency, and contemporaneity, I argue that artists Spencer Finch, Do Ho Suh, Newsha Tavakolian, Solmaz Daryani, Malekeh Nayiny, Mitra Tabrizian, Mark Dion, Fred Wilson, and Gala Porras-Kim function as revivalists – or artists whose works use memory and nostalgia to bring the past back to life. By attempting to retrieve memories, create nostalgic experiences, and question histories, they make their works tools for remembrance, reconciliation, and renegotiation with the past and present. The concerns these artists bring to the surface through their works build an understanding of how memory and nostalgia function as devices for personal meaning-making, trauma processing, and human-object relationship building. / Dissertation/Thesis / Masters Thesis Art History 2020