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The Routledge Handbook of Nostalgia serves as a guide to the complex and often contradictory concept of nostalgia, as well as the field of “nostalgia studies” more broadly.
Nostalgia is an area of intense interest across several disciplines as well as within society and culture more generally. This handbook brings together an international, interdisciplinary team of researchers to survey the current landscape and identify common trends, achievements and gaps in existing literature. Comprising forty-five chapters, the volume covers the following topics:
Disciplinary perspectives of nostalgias including philosophy, history, literature, and psychology.
Conceptual aspects of nostalgia including homesickness, temporality, affectivity, and memory.
Historical and political dimensions such as afro-nostalgia, populism, feminism, and queer nostalgia.
Spatial and material aspects of nostalgia including ruins, regionalism, and objects.
Media related nostalgia such as analogue and digital nostalgia, reboots, revivals, gaming, and graphic novels.
Essential reading for students and researchers working in nostalgia studies, this book will also be beneficial to related disciplines such as philosophy, anthropology, geography, history and literature; cultural, media, heritage, museum and film studies courses; and more generally for readers interested in how the past is represented and used in the present.
This book explores the role atmospheres play in shared emotion. With insights from leading scholars in the field, Atmospheres and Shared Emotions investigates key issues such as the relation between atmospheres and moods, how atmospheres define psychopathological conditions such as anxiety and schizophrenia, what role atmospheres play in producing shared aesthetic experiences, and the significance of atmospheres in political events.
Calling upon disciplinary methodologies as broad as phenomenology, film studies, and law, each of the chapters is thematically connected by a rigorous attention on the multifaceted ways atmosphere play an important role in the development of shared emotion. While the concept of atmosphere has become a critical notion across several disciplines, the relationship between atmospheres and shared emotion remains neglected. The idea of sharing emotion over a particular event is rife within contemporary society. From Brexit to Trump to Covid-19, emotions are not only experienced individually, they are also grasped together. Proceeding from the view that atmospheres can play an explanatory role in accounting for shared emotion, the book promises to make an enduring contribution to both the understanding of atmospheres and to issues in the philosophy of emotion more broadly.
Offering both a nuanced analysis of key terms in contemporary debates as well as a series of original studies, the book will be a vital resource for scholars in contemporary philosophy, aesthetics, human geography, and political science.
Topophobia: A Phenomenology of Anxiety is a vivid second-person inquiry into how anxiety plays a formative part in the constitution of subjectivity. While anxiety has assumed a central role in the history of philosophy – and phenomenology in particular – until now there has been no sustained study of how it shapes our sense of self and being in the world. This book seeks to address that lacuna.
Calling upon the author's own experience of being agoraphobic, it asks a series of critical questions: How is our experience of the world affected by our bodily experience of others? What role do moods play in shaping our experience of the world? How can we understand the role of conditions such as agoraphobia in relation to our normative understanding of the body and the environment? What is the relation between anxiety and home? The reader will gain an insight into the strange experience of being unable to cross a bridge, get on a bus, and enter a supermarket without tremendous anxiety. At the same time, they will discover aspects of their own bodily experience that are common to both agoraphobes and non-agoraphobes alike.
Integrating phenomenological inquiry with current issues in the philosophy of mind, Trigg arrives at a renewed understanding of identity, which arranges self, other and world as a unified whole. Written with a sense of vividness often lacking in academic discourse, this is living philosophy.
Reviews & Endorsements
“Topophobia is not only a vital resource for any foray into the meaning of the disquieting encounter with space, but it is furthermore a text that offers the potential for pathos and solace.” – Phenomenological Reviews
“Trigg's ability to bring together the philosophical, the filmic and the literary without trivialising ... makes him a writer of great importance not only to the phenomenological tradition but to contemporary thought more generally.” – Epizootics
“Readers will be captivated by Dylan Trigg's penetrating insights into and eloquent accounts of his experience of anxiety. They lead him into strikingly new and important ideas for psychology and philosophy.” – Alphonso Lingis, Professor Emeritus of Philosophy, Pennsylvania State University, USA
“Dylan Trigg's Topophobia puts you inside the phenomenology of place-related phobias, so that you can explore the modulations of such experiences as they unfold and twist themselves into an anxiety that is without boundaries. This is a true phenomenological study of how places appear cut up and displaced, how they are darkened and blindingly lit, how they overwhelm, grab you and close in, how one's body turns against itself, freezes, and starts to drift, and how others invade and obstruct one's intentions. Trigg also draws from psychiatry and psychoanalysis to map out a detailed landscape of anxiety, delivering a deep analysis of the interweaving of the conscious and the unconscious elements that constitute the phobias related to place. He shows us that anxiety and the self are always more than, and at the same time, less than personal.” – Shaun Gallagher, Lillian and Morrie Moss Professor of Excellence in Philosophy, University of Memphis, USA
“Topophilia, our love of place and our embeddedness in it and indebtedness to it, is not the only story to tell about place. In Topophobia, Dylan Trigg brilliantly shows that topophobia is woven through our experience of place, from its most intimate to its most public. He is equal parts Virgil and J. G. Ballard: he is our guide into the anxious, uncanny, nausea-inducing, claustrophobic, and agoraphobic places we are seduced by and condemned to live in, and he is the one who puts into words that which haunts us.
But this is not an account of the macabre, nor is it a tour of the bleak spaces of post-industrial collapse. Trigg gives us a rigorous phenomenology of the gaps and fissures of everyday place, the anxieties and ambiguities of being a body that must at some level be committed to its places, and yet which does not always experience a similar commitment in return. This book should have a rightful place for anyone interested in phenomenology, place, and body.” – Bruce Janz, Professor & Co-Director, Department of Philosophy and Centre for Humanities & Digital Research, University of Central Florida, USA
What is the human body? Both the most familiar and unfamiliar of things, the body is the centre of experience but also the site of a prehistory anterior to any experience. Alien and uncanny, this other side of the body has all too often been overlooked by phenomenology. In confronting this oversight, Dylan Trigg’s The Thing redefines phenomenology as a species of realism, which he terms unhuman phenomenology. Far from being the vehicle of a human voice, this unhuman phenomenology gives expression to the alien materiality at the limit of experience.
By fusing the philosophies of Merleau-Ponty, Husserl, and Levinas with the horrors of John Carpenter, David Cronenberg, and H.P. Lovecraft, Trigg explores the ways in which an unhuman phenomenology positions the body out of time. At once a challenge to traditional notions of phenomenology, The Thing is also a timely rejoinder to contemporary philosophies of realism. The result is nothing less than a rebirth of phenomenology as redefined through the lens of horror.
Reviews & Endorsements
"Dylan Trigg's The Thing is a sophisticated melding of philosophy, literary criticism, and film criticism that underscores his major thesis that 'the horror of the cosmos is essentially the horror of the body.' Its discussions of the fiction of H. P. Lovecraft, the films of John Carpenter and David Cronenberg, and other texts and films allow us to look at these works from a fascinating new perspective while shedding light on humanity's fragility in a boundless cosmos." ~ S. T. Joshi
"Dylan Trigg's The Thing: A Phenomenology of Horror takes up the central challenge of contemporary philosophy - grappling with the world as indifferent to human constructs and concepts. Trigg's analysis suggests to us that phenomenology - too often regarded as a philosophy of the human par excellence - is uncannily suited to thinking the world-without-us. Husserl writing horror fiction is the spirit of this study." ~ Eugene Thacker, author of In The Dust Of This Planet
From the frozen landscapes of the Antarctic to the haunted houses of childhood, the memory of places we experience is fundamental to a sense of self. Drawing on influences as diverse as Merleau-Ponty, Freud, and J. G. Ballard, The Memory of Place charts the memorial landscape that is written into the body and its experience of the world.
Dylan Trigg’s The Memory of Place offers a lively and original intervention into contemporary debates within “place studies,” an interdisciplinary field at the intersection of philosophy, geography, architecture, urban design, and environmental studies. Through a series of provocative investigations, Trigg analyzes monuments in the representation of public memory; “transitional” contexts, such as airports and highway rest stops; and the “ruins” of both memory and place in sites such as Auschwitz. While developing these original analyses, Trigg engages in thoughtful and innovative ways with the philosophical and literary tradition, from Gaston Bachelard to Pierre Nora, H. P. Lovecraft to Martin Heidegger. Breathing a strange new life into phenomenology, The Memory of Place argues that the eerie disquiet of the uncanny is at the core of the remembering body, and thus of ourselves. The result is a compelling and novel rethinking of memory and place that should spark new conversations across the field of place studies.
Reviews & Endorsements
“Genuinely unique and a signal addition to phenomenological literature…. It fills a significant gap, and it does so with eloquence and force.”—Edward S. Casey, Distinguished Professor of Philosophy, Stony Brook
“Important for readers of continental philosophy in general, as well as place studies and psychology, Trigg’s work is an indispensable piece not to be overlooked.”― International Journal of Philosophical Studies
“The rewards of (The Memory of Place)…are manifold, and its contribution to the growing literature on the uncanny is undeniable…. My experience of (Trigg’s) book can be characterized in the terms that Trigg himself uses: it is one of ambivalent fascination, at once enthralled and overwhelmed.” ― Rain Taxi
“Trigg displays an impressive knowledge of the recent literature on place, memory and the uncanny, and the book is worth the effort for those with an interest in where the concept is currently headed… . Trigg’s emphasis on Merleau-Ponty rather than Heidegger for his phenomenology is a master-stroke: Trigg skillfully deploys Merleau-Ponty’s philosophy to transcend the rigid dichotomy between subject and object and thus manages to reveal uncanniness as both a subjective experience.” —Los Angeles Review of Books (LINK)
“This work marks a highly original contribution to the growing interdisciplinary, phenomenological informed, literature examining the nature of place. However, while drawing on phenomenology, this is by no means standard phenomenologically-informed fare. The terrain covered and position arrived at is far weirder and unsettled.”—Emotion, Space and Society
In The Aesthetics of Decay, Dylan Trigg confronts the remnants from the fallout of post-industrialism and postmodernism. Through a considered analysis of memory, place, and nostalgia, Trigg argues that the decline of reason enables a critique of progress to emerge. In this ambitious work, Trigg aims to reassess the direction of progress by situating it in a spatial context. In doing so, he applies his critique of rationality to modern ruins. The derelict factory, abandoned asylum, and urban alleyway all become allies in Trigg’s attack on a fixed image of temporality and progress. The Aesthetics of Decay offers a model of post-rational aesthetics in which spatial order is challenged by an affirmative ethics of ruin.
Reviews & Endorsements
"'Between sublimity and the dissolute, we discover the aesthetics of revulsion’, writes the philosopher Dylan Trigg in his recent book The Aesthetics of Decay (2006). Trigg is the latest in a venerable line of thinkers to turn his attention to decay in general and garbage in particular. His book's contention – that the ruin or remnant embodies a mode of ‘critical memory’ at odds with the sanctification of official monuments and sites of collective recall – may be argued at the level of contemporary cultural theory, but its terms and tone are actually ancient. There seems to be something in the study of ruins, rubbish, junk and trash that means its enthusiasts can't help reverting to awed lists of defunct artefacts. They may begin with more rigorous and abstract ambitions, but time and again it is the details of decay that fascinate its theorists." ― Brian Dillon, Frieze Magazine
"‘The Aesthetics of Decay’ challenges the common assumption that progress is rational. With analytical rigor and eloquence of argument, Dylan Trigg’s book takes the reader on a journey through metaphysics, psychoanalysis, aesthetics, ethics, theology, and music to suggest the opposite: that the modern ruin redefines progress by embodying decline. A remarkable display of erudition and creativity, and written in an engaging and accessible style, this book is an exceptional foray into intriguing subject matter." ― Sally Macarthur, Senior Lecturer in Musicology, University of Western Sydney; Author of ‘Feminist Aesthetics in Music’
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