This essay is a case-study of a phenomenon called “ostalgie” which could be described as GDR-nostalgia. “Ostalgie” is a compound of the two German words “ost” (east) and “Nostalgie” (nostalgia.) It is, like a similar phenomenon referred to as “communist nostalgia”, a type of nostalgia. However, if one were to define “ostalgie” as “communist nostalgia” important aspects of the phenomenon would be left out. Despite the vast research (mainly by German scholars) on the reunification process of the two German states, little has been said about the positive retrospective evaluation of the former GDR among eastern Germans. The purpose of this study is to examine what constitutes “ostalgie” and what it could lead to. To answer what ostalgie is I examine research literature and analyze so called “ostalgie” consumption products such as movies and souvenirs with GDR-symbols. Drawing on two alternative hypotheses, one related to political socialization and one related to unification related hardships, I discuss the possible explanations for the emergence of “ostaglie”. To answer what ostalgie could lead to I also analyze and discuss existing research and make my own interpretations based on personal experiences with the reunification process. This study is thus mainly based on a qualitative literature analysis but is also illustrated by quantitative measurements of “ostalgie-related” attitudes among Germans. I argue that “ostalgie” should be considered as an outcome of political socialization as well as unification related hardships and that it would be misleading to assume that “ostalgie” could be explained exclusively by one of the hypothesis discussed. “Ostalgie” is an expression for eastern Germans’ will or need to reminisce about the good aspects of the GDR. The consequences of “ostalgie” are first and foremost that it trivializes the GDR dictatorship. It has also been noted that nostalgic people have more negative attitudes towards the German democracy than non-nostalgic people. I conclude the paper by discussing the difficulties of measuring how widespread “ostalgie” sentiments are due to the problems of definition.

[pt] A partir do olhar sobre dois filmes de Patricio Guzmán realizados no Chile após o fim da ditadura de Pinochet (1973-1990) - Chile, memória obstinada (1997) e Nostalgia da Luz (2010) -, discute-se como ele desenvolve uma narrativa mais pessoal – sua guinada subjetiva e reflexiva sobre a história -, considerando, com particular atenção, a memória de seu país. Seus filmes expõem - o gesto arqueológico - não somente narrativas como que soterradas na memória dos entrevistados, que foram omitidas para as novas gerações, mas também a construção de atos corporais de memória e objetos comemorativos. Murais antigos e coloridos são descobertos por trás de grossas camadas de tinta monocrômica, da mesma forma que vestígios humanos e ruínas na árida paisagem do deserto de Atacama, deixando reemergir experiências e versões dos sofrimentos de vidas que, embora tendo ficado no passado, ainda estão fortemente presentes. Ao descrever e discutir detalhes de importantes sequências desses dois filmes, procura-se mostrar como eles obstinadamente resistem e, de forma meditativa, revertem o esquecimento e a ocultação que a história oficial tem sustentado. / [en] Focusing mainly on two films by Patricio Guzmán, produced in Chile after the end of the Pinochet dictatorship (1973-1990) - Chile, obstinate memory (1997) and Nostalgia for the Light (2010), we comment on how he develops a personal and subjective narrative with a particular attention to the memory of his country s and people s past. His films bring out - and that is what we call the archeological gesture - not only narratives which are buried in the memories of the interviewees and had been kept untold (out of reach particularly of the new generation), but also objects like old vivid mural pictures covered up by a non-descriptive coat of paint, as well as remains and ruins of the arid landscape of the Atacama desert, letting reemerge experiences and versions of the past, though still strongly present, lives of suffering. It was mainly when we describe in detail and attentively comment on important sequences of these two films that we succeeded in showing how they obstinately resist and revert the forgetting and obliteration of the accommodating official story.

El marketing de nostalgia es una herramienta utilizada para captar la atención del consumidor a través de un sentimiento de añoranza hacia el pasado. Los estudios analizados en el presente trabajo de investigación mencionan que la nostalgia es un sentimiento poderoso que evoca al pasado feliz del consumidor y lo trae al presente, causando un efecto positivo en su actitud. Ha sido utilizada en el branding, desarrollo de producto, estrategias de comunicación y de contenido. Sin embargo, pocos autores describen el uso de esta herramienta en la estrategia de contenido. Es por ello, que este trabajo de investigación analizará las actitudes de los millennials frente al uso del marketing de nostalgia como parte de una estrategia de contenido, específicamente de la alianza de Netflix y Nickelodeon que se basa en un acuerdo de producción de contenido en el que Netflix podrá tener en su plataforma contenido nuevo y antiguo de Nickelodeon. Para ello, se realizará un trabajo de campo cualitativo a través de entrevistas a profundidad dirigido a millennials que usan Netflix y que tengan una conexión previa con Nickelodeon. Esto nos permitirá conocer las principales actitudes, sentimientos y pensamientos con respecto al caso de estudio. / Nostalgia marketing is a tool used to capture the consumer's attention through a feeling of longing for the past. The studies analyzed in this research mention that nostalgia is a powerful feeling that evokes the consumer's happy past and brings it to the present, causing a positive effect on their attitude. It has been used in branding, product development and communication and content strategies. However, few authors describe the use of this tool in a content strategy. This is the reason this research will analyze the attitudes of millennials towards the use of nostalgia marketing as part of a content strategy, specifically the alliance of Netflix and Nickelodeon, that is based on a content production agreement in which Netflix will be able to have new and old Nickelodeon content on its platform. In order, to do this, a qualitative field work will be carried out through in-depth interviews aimed at millennials who have used Netflix and who have a previous connection with Nickelodeon. This will allow us to know the main attitudes, feelings, thoughts regarding the case study. / Trabajo de investigación

Retro art and technology have been on the rise in recent years, the phenomenon is fuelled by the nostalgia of a sense of authenticity that the offline world can no longer satisfy. The integration of technology into human’s social conduct has made it an extension of their beings. Faced with technological progress, people also yearn to regress to the age-old days of their childhood. Nostalgia often comes with romanticization of the past, but it also offers a sense of security and realness that is seemingly lost amid the constant exchange of data in the present time. This lays ground for the rise of faux-vintage photos on social application Instagram. Bracing itself as a modern digital media, Instagram capitalizes on nostalgia for the analog and fetishization of the retro aesthetics of old media. While researchers have noted the link between Instagram and digital nostalgia, these works remained within the theoretical realm. Using a combination of interface criticism and interview, the paper focuses on human and computer interaction to study digital nostalgia and mediated authenticity on Instagram. The findings point out the complexity of Instagram as a social network and a creative tool in the emerging age of pervasive computing, in which the technology increasingly integrates and fades into the background of our everyday lives. The paper’s intention is to develop further understanding of retromodern technology, particularly Instagram, in reconstructing our knowledge of society and everyday social conduct. A better comprehension of our digital culture is crucial to the development of the self and society.

Dans ce mémoire, j’explore les pratiques musicales du vinyle et démontre de quelles manières la nostalgie en est une des médiations. En m’appuyant sur la notion de nostalgie telle que développée par Svetlana Boym (2002), je propose de comprendre ces pratiques comme un lieu où cohabitent à la fois la nostalgie réflexive et la nostalgie restauratrice. Plus précisément, j’argue que les reconstructions du passé et les éléments d’authenticité qui traversent les pratiques à l’étude ne doivent pas être considérés comme le gage d’une nostalgie tendant vers le « homecoming » ou le retour à un passé figé, immuable; ils devraient plutôt être vus comme relevant d’un engagement réflexif eu égard au passage du temps à travers les productions de mémoires individuelles et culturelles. L’exploration empirique s’effectue par le biais d’entrevues semi-directives itératives et in situ réalisées avec quatre répondants. Les propos que j’ai recueillis et retranscris forment la matière à partir de laquelle je construis mon analyse qui permettant ainsi de mettre en évidence la complexité des activités liées aux vinyles ainsi que les différents aspects mémoriels et temporels qu’ils mettent en œuvre. / This thesis explores the vinyl practices and demonstrates how nostalgia serves/appears as one of the mediations. Based on Svetlana Boym’s (2002) notion of nostalgia, this paper will understand these practices as a place where both restorative and reflexive nostalgia coexist. It will be argued, more specifically, that the reconstructions of past and the elements of authenticity — which are inextricably linked to the vinyl practices — cannot be taken as the pledge of nostalgia that would lean towards a “homecoming” or return to a fixed past, but rather as the ability to engage in reflexivity regarding the passing of time through individual and cultural memory productions. To do so, iterative and in situ interviews were conducted with four referees. The analysis of such issues is based on the comments collected from the interviews, which highlight the complexity of the vinyl activities and the different memorial and temporal aspects that are embodied within them.

This diploma thesis deals with the way material artifacts participate in the creation of the retrospective depiction of the past in the second season and the third season of the series Vyprávěj, which takes place in the years 1873 - 1989. In the empirical part of the thesis a semiotic analysis was made. The goal of the thesis was to determine which material artifacts evoke the atmosphere of the past in the series and if these artifacts can be considered the carrier of visual information and semantic levels. We focused on stage properties which can be found in the settings of individual households, workplaces and other places which can be seen in the series and we made an analysis from the viewpoint of their occurrence. At the same time in connection with the chosen material artifacts we focused on their function in the narration and their meaning for depicting the past. The study also deals with the ways the viewers of the series remember the period of time which the series depicts. As a part of the analysis the viewers' opinions recorded on the official Facebook websites of the series Vyprávěj which were related to the stage properties and the memories of the period of normalization were gathered.

The humor of Mark Twain has long fascinated his readers. Critics such as Messent (2007), Budd (2005), Gerber (1988) and Camfield (2005) have all analyzed Mark Twain’s humor to reveal nuances and to help further the understanding of what makes Twain’s writing humorous. However, there is a distinct gap in the research so far conducted investigating Twain’s humor in relation to young readers, which this paper will begin to address. Twain’s novel The Adventures of Tom Sawyer (2007) poses a relevant subject for this research as Twain explicitly (in the preface to the novel) professes to write both for children and adults simultaneously. Writing in such a way can be categorized as either “double address” or “dual address”, understanding these terms according to the definitions of Barbara Wall (1991). In this paper I will argue that Mark Twain manages to create “dual address” in Tom Sawyer by using what Greg Camfield (2005) calls “amiable humor” and constructing scenes out of childhood in order to produce delight and nostalgia. By reading closely excerpts of the book and analyzing Twain’s specific use of humor through three prominent theories—superiority theory, relief theory and incongruity— it becomes possible to identify what the implied reader is meant to find humorous, and therefore if Twain manages to establish a “dual address”. An understanding of Twain’s humor from the perspective of both young and adult reader furthers our understanding of the novel by revealing Twain’s implementation of complex “dual address” narration and its implications.

The nonfiction collection of essays is about childhood and nostalgia, and how all the experiences as a kid make them into whom they will be.

The disparate concepts of Pop Art and abstract painting heavily influence the scope of my work. Finding a link between these two concepts has been the focal point of my studio practices. The apex of my process is the focus on commercial imagery as abstract form. The merging of these two concepts presents a complex composition of balance, color and information. This thesis explores the various concepts as well as influences that have propelled the evolution of my work. It chronicles the steps I have taken in my quest to articulate my conceptual ideas. By describing the works and defining their characteristics, this analysis gives further insight to my perception as well as process.

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5.4pt;mso-para-margin:0in;mso-para-margin-bottom:.0001pt;mso-pagination:widow-orphan;font-size:11.0pt;font-family:"Calibri","sans-serif";mso-ascii-font-family:Calibri;mso-ascii-theme-font:minor-latin;mso-fareast-font-family:"Times New Roman";mso-fareast-theme-font:minor-fareast;mso-hansi-font-family:Calibri;mso-hansi-theme-font:minor-latin;mso-bidi-font-family:"Times New Roman";mso-bidi-theme-font:minor-bidi;}</style><![endif]--><span lang="RU" style="font-size:9.0pt;font-family:&quot;Arial&quot;,&quot;sans-serif&quot;;mso-fareast-font-family:&quot;Times New Roman&quot;;color:#222222;background:white;mso-font-kerning:10.0pt;mso-ansi-language:RU;mso-fareast-language:EN-US;mso-bidi-language:AR-SA">Predmet doktorskog umetničkog projekta &bdquo;Rana sećanja: umetničko delo scenskog dizajna&rdquo; jeste ispitivanje stvaralačkog dejstva ranih sećanja i ključnih narativa ličnih priča na egzistencijalni i poetski prostor pojedinca u posebnim prostorno-vremenskim okolnostima. Kao konačni ishod, projekat integriše materijalizovane, preispitane i izabrane uticaje u delo iz domena scenskog dizajna pod nazivom &bdquo;Susret u sećanju</span><span lang="RU" style="font-size:14.0pt;mso-bidi-font-size:10.0pt;font-family:TimesRoman;mso-fareast-font-family:&quot;Times New Roman&quot;;mso-bidi-font-family:&quot;Times New Roman&quot;;mso-font-kerning:10.0pt;mso-ansi-language:RU;mso-fareast-language:EN-US;mso-bidi-language:AR-SA"> </span><span lang="RU" style="font-size:9.0pt;font-family:&quot;Arial&quot;,&quot;sans-serif&quot;;mso-fareast-font-family:&quot;Times New Roman&quot;;color:#222222;background:white;mso-font-kerning:10.0pt;mso-ansi-language:RU;mso-fareast-language:EN-US;mso-bidi-language:AR-SA">&rdquo;.</span></p> / <p>The subject of doctoral art project &bdquo;Early memories: scene design art work&rdquo; is the examination of the creative effect of early memories and the key narratives of personal stories on the existential and poetic space of an individual, in special spatio-temporal circumstances. As a final outcome, the project integrates materialized, re-examined and selected influences into scene design art work called &bdquo;Meeting in Remembrance&rdquo;.</p>