xii, 310 p. A print copy of this thesis is available through the UO Libraries. Search the library catalog for the location and call number. / Nostalgia is the longing for a lost, and often substantially reimagined, time or place. Commonly regarded as a conservative impulse available for exploitation by hegemonic forces, nostalgia can also be a source of social questioning and creative inspiration. This dissertation examines the ways in which nostalgic longing imports images and ideas from memory into present discourse and infuses works of art with complication, contradiction, and ambiguity. In the early 1960s, emboldened by Nikita Khrushchev's cultural Thaw, many Soviet filmmakers engaged both personal and social memory to craft challenging reflections of and responses to their times. These filmmakers reengaged the sundered spirit of the 1920s avant-garde and reimagined the nation's artistic and spiritual heritage; they captured the passing moments of contemporary history in a way that animated the permanent, productive, and sometimes stormy dialogue between the present and the persistent past. Mikhail Kalatozov's I Am Cuba (1964), Andrei Tarkovsky's Andrei Rublev (1966, released 1971), and Marlen Khutsiev's Ilich's Gate (1961, released with changes in 1965 as I Am Twenty ) were planned in the anxious years surrounding Khrushchev's fall, and the films mark a high point of Thaw-era cinematic audacity. Each film is epic in scope; each deploys temporal longing to generate narrative ambiguity and dialogue between historical epochs. The films are haunted by ghosts; they challenge the hegemony of the "now" by insisting on the phantom presence of a thousand "thens"; they refurbish old dreams and question contemporary assumptions. The Thaw permitted the intrusion of private memory into public history, and the past became a zone for exploration rather than justification. Easy answers became harder to come by, but the profusion of questions and suggestions created a brief silver age for Soviet cinema. For us, these films offer an extraordinary glimpse into creative life during one of the great, unsung social transitions of the 20th century and reveal the crucial contribution of individual memory in the artistic quest for formal diversity, spiritual inspiration, and ethical living. / Committee in Charge: Dr. H. Leslie Steeves, Chair; Dr. Biswarup Sen; Dr. Julianne Newton; Dr. Jenifer Presto

This thesis deals with three selected current trends related to consumer behavior -- onslaught of retro products and retro marketing generally, changes in behavior related to electronic marketplace, and stricter demands for flawlessly designed products and services. Each trend is described and attention is given to driving forces of these trends, the ways they can affect consumers' lives and how they can be observed. The knowledge of the trends is then applied to determine how different groups of Czech consumers can be affected by those trends, thus giving businesses hints on how to incorporate the trends in the approach to their customers and monetize on them.

The dissertation focuses on the phenomenon of a new presence of references to traditional folk culture in contemporary Czech and Slovak art. Emphasis is placed on the period from the year 2000 to the present. The core of the work consists of chapters devoted to artists who in this period significantly thematized various aspects of traditional folk culture, either as a partial element of specific projects or in the form of continuous interest in the field. The essence of this part is to show the breadth and heterogeneity of the examined manifestations across the media spectrum. The main purpose of the work is to analyze and place the researched phenomena in a relevant context within the theory and history of art. The reason is their different nature from thematically similar manifestations in the 19th and 20th centuries. In addition, when compared with current trends abroad, a number of connections are shown, such as links to environmental issues, criticism of the state of society and, above all, to new issues related to personal and collective identification. Therefore, I base the analysis of these phenomena on a hybrid interdisciplinary basis using theoretical approaches to identity in the social sciences and humanities. I do so in the introductory theoretical chapters, but the main focus is on the final analytical synthesis. To a large extent, it also builds on data obtained from interviews with artists, the transcripts of which the reader will find in the appendix. Finally, the documentation of curatorial projects and exhibitions realized as a practical part of the dissertation project is attached.

The aim of this musical anthropology thesis focuses on "medieval music" as practiced by fans of historical fencing in the form of living history on the example of two Czech bands - Subulcus and Medieval Open Band as part of project Prácheňská manství. In my thesis I focus not only on sound and musical instruments, but also on the behavior of actors and their conceptualization of the Middle Ages, according to the concepts of music as culture of Allan Merriam, resp. of music as social life of Thomas Turino. I combine here the basic ideas of ethnomusicology with the ideas of musical memory in connection with the contemporary concepts of social memory and, last but not least, with the concepts of "golden age", nostalgia, staged authenticity and invented traditions. The point of this work is to bring about the origin and form of music that the actors understand as medieval, although not always comes the repertoire from the Middle Ages.

The purpose of the research work was to discover and describe the main characteristics of young people's ideas about the collapse of the USSR and the 1990s in Russia as well as to define the specific features of opinion and attitude formation. The time frame of targeted historical period is between 1991 and 1999/2000, from the Soviet coup d'état attempt in 1991 to the time when Boris Yeltsin Russian president of that time appointed Vladimir Putin as his successor in 1999/2000. In order to achieve this goal, more than 30 interviews with young people from Moscow, Kazan, and Novosibirsk were collected and analyzed. As a result, several types of images of the collapse of the USSR and the 90s were formed; the role of school, family and media in the process of image formation were described, some historical myths were identified, and four types of historical opinion formations of young Russians were structured and named. Keywords: memory studies, collective memory, history mythologization, Soviet Union Fall, nostalgia, historical attitude formation, Russian youth attitude, opinion formation

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This study examines the culture and values surrounding the analogue camera and the analogue photography today. The aim is to answer the questions of how the field of analogue photography look like? Why it still exist? And what the role of analogue photography in a digital context is? Through qualitive interviews with six persons who practices analogue photography the study examines their field, and reasons for choosing it over digital. Based on theories by Pierre Bourdieu the analysis shows the fields positions of power, and identifies the capitals that are valued and why they are valued. The interviewees describes the benefits of the analogue in relation to digital photography as more valuable and more esthetic. They say that the randomness and imperfections of the analogue has artistic and esthetic qualities and advantages. The study connects this with analogue nostalgia, and Hartmut Rosas theory of resonance. With a theoretical framework based on Zygmunt Bauman and Christopher Lasch the study analyzes analogue photography in a digital context. The study finds that analogue photography is nostalgic in the sense that it is practiced in relation to the digital, and in some cases as a way to escape and oppose digital society. Further the study suggests that when the interviewees uses analogue photography to oppose the digital in favor of the wellbeing of oneself, it could on the other hand be a practice in conformity with modern society despite the interviewees efforts to oppose it.

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Cette thèse s’intéresse aux souffrances morales dans la philosophie de Vladimir Jankélévitch, plus particulièrement le remords, l’ennui et la nostalgie. L’analyse suit deux axes, d’abord un axe herméneutique où il s’agit de comprendre la signification de ces souffrances en les replaçant dans une anthropologie philosophique et une ontologie qui leur donne sens. Ensuite un axe thérapeutique qui indique comment ces formes de souffrances peuvent orienter le devenir de manière à vivre plus harmonieusement. Sur ces bases, la thèse élabore une étude en profondeur de la joie chez Jankélévitch, laquelle s’est dessinée en creux dans l’analyse des souffrances. En effet, le remords permet de bien comprendre le lien puissant entre la joie et l’amour. Les analyses de l’ennui et de la nostalgie permettent quant à elles de saisir son ancrage temporel. / This thesis investigate the question of moral suffering in the philosophy of Vladimir Jankélévitch, specifically remorse, boredom and nostalgia. The analysis uses two different perspectives. First of all, a hermeneutic one working on the meaning of these sufferings and showing their roots in a philosophical anthropology and in an ontology. Secondly, a therapeutic point of view showing how these suffering can help becoming more harmoniously. Based on this analysis, this thesis concludes on an analysis of joy. The analysis of remorse permits to seize the fundamental love dynamic at work in joy. The analysis of boredom and nostalgia provide the temporal part of it.

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