Denna studie undersöker relationen mellan hår, kön, kropp och rum. Specifikt undersöks hur relationen mellan maskulinitet och hår i form av skägg framträder på tre raksalonger i Stockholm våren 2019. Detta analyseras främst med Sara Ahmeds (2006) begrepp orienteringar och linjer, som beskriver hur vi kroppsligt erfar omvärlden. Judith Butlers (2007) performativa genus är också tolkningsgrundande. Intervjuer med en barberare och kund från var observerad raksalong, har synliggjort informanters strävan efter svåruppnåeliga maskulina ideal, som ett fylligt skägg. Studien berör även nutida historiebruk. Två av tre raksalongers miljö har bidragit till maskulina gestaltningar, orienterade mot nostalgisk känsla av brittisk herrklubb från förra sekelskiftet. Raksalongernas genuina kvalitetsupplevelse, har kontrasterats mot damsalongers sämre service och expertis. Två barberare och kunder eftersträvar dock känslomässig öppenhet, vilket kan sägas ta spjärn från stereotypa maskuliniteter. Detta har möjliggjort omorienteringar mot maskuliniteter med traditionellt sett mer mjuka, feminina värden. / This research examines the relation between hair, body and place. Specifically, it investigates how the relation between masculinity and hair such as beard takes shape in three different barbershops in Stockholm spring 2019. This is foremost being analysed with Sara Ahmed's (2006) use of orientations and lines, which describe how we bodily experience our surroundings. Judith Butler's (2007) gender performativity is also at the foundation of the analysis. Interviews with one barber and customer from each observed barbershop, has shed light on informants' strivings to reach elusive masculine ideals, such as a full beard. Two of the three barbershop milieus have contributed to masculine formations, orientated towards nostalgic sense of brittish men's club from the turn of last century. The barbershops' genuine luxury treatments have by some informants been contrastated against lady hair salons' poorer service and expertise. However, two barbers and customers seek emotional openness, which can be said to deviate from stereotypical masculinities. This has enabled reorientations towards masculinities with traditionally more soft, feminine values.

This thesis aims at exploring the consequences of migration in Jhumpa Lahirir¡¦s novel The Namesake. Set in India and America, the story represents such immigrant experiences as the clash of cultures, the conflicts of assimilation, and the tangled ties between generations. In addition to introduction and conclusion, the thesis consists of three chapters, devoted respectively to issues of nostalgia, identity, and cultural hybridity. Chapter One explores the way nostalgia affects the Ganguli family in their daily life, including such aspects as food, clothing, their circle of friends, festivals and celebrations. To analyze Indian immigrants¡¦ longing for home and their attempts to retain homeland culture, I employ Svetlana Boym¡¦s theory on nostalgia, wherein two kinds of nostalgia are distinguished: the restorative and the reflective. Chapter Two focuses on immigrants¡¦ identity formation. The process of identity formation is associated with naming and generational problems. I adopt the Freudian theory of the Oedipus complex to explain the father-son conflicts: how the protagonist defies his father as well as the name given by him. Then, drawing upon Cathy Caruth¡¦s concept of traumatic awakening, I trace how the protagonist reconciles with his father and reaches maturity. Chapter Three examines how immigrants come to invent a hybrid cultural identity. I employ Homi Bhabha¡¦s concepts of in-bewteenness and the Third Space to point out the interplay of the Bengali heritage and the dominant American culture, which results in the phenomenon of a new, dynamic, and mixed culture. With globalization, borders and boundaries are constantly changing so that migration comes to be typical of human condition. In this sense, the immigrant experience stated in The Namesake foregrounds problems which might be encountered by all diasporas.

With the emergence of digital cameras on phones, photography has become a popular routine. For some people, it is close to a form of ritual, every moment of the present is preciously archived and possibly shared to relatives on social media. This consumption of photography contrasts radically with the one practiced 20 years ago. Analogue photography was more occasional, because it is more time-consuming and also more costly. However, we observe today a resurgence of analogue photography and more particularly among young generations. This phenomenon goes hand in hand with the popularity of transforming contemporary pictures into old-looking ones with services like Instagram. Therefore, there is a regain of popularity for old devices and old aesthetic among young generations which indicates the existence of nostalgic behaviours among these consumers. The present study aims to explore these two phenomena in order to identify patterns of consumption about nostalgic behaviour among young generations. In order to achieve this, a comparative design is adopted to evaluate the differences and similarities between analogue photography and Instagram practice. This study generates knowledge about the changes in consumption since the digitalization of photography. Indeed, Instagram and analogue photography are rooted in the need to provide alternatives to digital photography which has made photography pervasive and less personal. Instagram and analogue consumers express different attitudes to achieve this desire to create meaning. Thus, the findings reveal that Instagram consumers give value to their everyday life experience by using nostalgic effects. This is interpreted by the fact that old-looking pictures are perceived as more narrative so they have more power to tell stories. Conversely, analogue users renew old practices in order to give more meaning to their photographic experience. It allows them to be more involved in a process of creation which does not exist anymore in digital photography.

This thesis is an attempt to analyse the narrative structure of the Turkish satiric comedies that were produced in the 1980s. It focuses on the relation between the narrative structure of the satiric comedies and the socio-political atmosphere of the period. It argues that the satiric comedies aimed to criticize the new right policies and the social transformation in the 1980s through the opposition between the &ldquo / honourable&rdquo / hero on the one hand, and the &ldquo / swindler&rdquo / figure(s) or the &ldquo / degenerated order&rdquo / on the other. The narrative tools and stereotypes were used to represent the decline of such social values as solidarity, collectivism and philanthropy and rise of new ones like individualism, competitiveness and self-reliance. The study also analyzes the transformation of satiric comedies themselves throughout the decade, focusing on the change in the construction of oppositions and conflicts, and the emergence of nostalgia and romanticism as part of their critical discourse.

Both Sharon Hayes’s "In the Near Future" (2005-2009) and Catherine Opie’s photographs of assemblies and rallies (2007—) take protest as a topic of investigation. Hayes enacts solo protests in urban centers and documents her project’s iterations; Opie attends organized marches and demonstrations and photographs the gathered crowds. Yet while both projects perform or picture protest in the present-day, neither is wholly of this moment. In her staged actions, Hayes holds the signs and slogans of earlier social movements, and both she and Opie create and consider the images they capture in relation to experiences and visual records which predate them. This thesis considers the ways in which expectations and desires for present and future moments are rooted in understandings of social or political pasts, investigating the work of Hayes and Opie alongside the events of Occupy Wall Street and the histories of the movements these artists reference: ACT UP (AIDS Coalition to Unleash Power), Queer Nation, and the Memphis Sanitation Strike of 1968. Focusing on the role of the documentary image in the creation and remembrance of historical events, the paper looks at how the longing to reinhabit a pictured past becomes incorporated within a desire to feel historical, and how fantasies of the past and future are absorbed into the charged space of present. Concentrating first on this temporal rearrangement (referred to by Hayes as an “unspooling of history”) and turning next to the reengagement and embodiment of symbolic imagery, this thesis explores how works by Hayes and Opie emphasize disappointment in the present scene while simultaneously endeavoring to establish alternative spaces of social and political possibility—both new sites and reimagined worlds of belonging. / text

While considering the role of media in shaping and examining histories, we must also grapple with formal limitations in approaching and understanding the past. The thesis aims to bring video games into critical conversations regarding history, memory, and nostalgia by considering the similar and unique perspectives the medium can bring alongside film, television, radio, and literature. Player positionality and interactivity within the unconventional, non-linear game storytelling form allows for different engagements with history. Focusing on the futuristic, post-apocalyptic role-playing game Fallout 3 (2008), this study interrogates the game’s nuanced presentation of genre as a cultural mediation of the past, the negotiation of memory with history, and our problematic assumptions about technology and narratives of progress. While the study finds games may provide rewarding and potentially critical explorations of history, the self-reflexive nature of video gaming emphasizes the medium’s possibilities, limitations, and implications as a cultural product shaped by the very forces constructing history. / text

No description available.

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.

Steampunk first appeared in the 1980s as a subgenre of science fiction, featuring anachronistic technologies with a veneer of Victorian sensibilities. In recent years steampunk has re-emerged in young adult science fiction as a fresh and dynamic subgenre, which includes titles such as The Girl in the Steel Corset by Kady Cross, The Hunchback Assignment by Arthur Slade, and Mortal Engines by Philip Reeve. Like their predecessors, these modern steampunk novels for teens use retrofuturistic historiography and innovative mechanical aesthetics to dramatize the volatile relationship between man and technology, only in these novels the narrative is intentionally set in the context of their teen protagonist's social and emotional development. However, didactic conventions such as technophobia and the formulaic linearity of the bildungsroman narrative complicate and frustrate steampunk's representation of adolescent formation. Using case studies of Leviathan by Scott Westerfeld and The Alchemy of Stone by Ekaterina Sedia, retrofuturism and technological hybridity are presented as defining features of steampunk that subvert young adult science fiction's technophobic and liberal humanist traditions. The dirigible and the automaton are examined as the quintessential tropes of steampunk fiction that reproduce the necessary amphibious quality, invoking new expressions and understanding of adolescent growth and identity formation that have a distinctly utopian, nostalgic, and ecocentric undertone.

Thesis (Ph. D.)--University of Oregon, 2008. / Typescript. Includes vita and abstract. Includes bibliographical references (leaves 194-206). Also available online in Scholars' Bank; and in ProQuest, free to University of Oregon users.