Because, as Su and Boym
have observed, nostalgia tends to be place-based, it links the personal to the political.
lembra esse filme para indicar o artificialismo que pode constituir a cultura nostalgica contemporanea como resposta a crise de futuro experimentada nas ultimas decadas.
S (2009) From love to worldliness: Hannah Arendt and Martin Heidegger.
2) Svetlana Boym
, The Future of Nostalgia (New York: Basic Books, 2001).
His efforts risked distorting the memory of the war in a way that would have dishonored the experience of the people of San Pietro Infine--something like the restorative nostalgia that Boym
contrasted to the reflective version.
The novel implicitly, but quite skillfully, anticipates Boym
's differentiation between two kinds of nostalgia: whereas "restorative nostalgia," according to Boym
, stresses the nostos (the homecoming) and is the core of most reactionary politics, "reflective nostalgia thrives in algos, the longing itself, and delays the homecoming-wistfully, ironically, desperately" (Boym
This concept is elaborated on also by Svetlana Boym
in Common Places: Mythologies of Everyday Life in Russia (Cambridge: Harvard University Press, 1994).
Guest recognized that Miro's abstract rendering of a woman poet is presented as just the kind of (very rare) poetess "without quotation marks" that Boym
would like to see - a poet whose feminine suffix does not read as "a sign of cultural inferiority" (192).
2007; os tradutores Marcelo Santos de Abreu e Andre de Lemos Freixo agradecem ao professor David Damrosch, executor literario de Svetlana Boym
, pela autorizacao para publicacao desta traducao.
Como las peliculas resaltan lo perdido e incluyen un gesto nostalgico, Dufays tambien nos presenta una conceptualizacion mas compleja de ese termino, prestada de la obra de Svetlana Boym
, para distinguir entre una nostalgia "'restauradora' y otra 'reflexiva'" (19, 69-74).
For instance, referring to the Soviet and post-Soviet reality, Boym
(2002) applies an interdisciplinary approach to collective memories, adopting the term nostalgia.
Although these vernacular memorials might be regarded as 'mere revisiting of the dictator's portrait' (or as a form of what Svetana Boym
calls 'restorative nostalgia') in a non-artistic fashion--where postmodernism and post-communism are not encountering in the cultural production and in the commodified space of the art gallery--it does not mean that only 'artistic', defamiliarised and resignified materialisations of Ceausescu's memory can fill the gap in the collective memory of transition.