<br><div class="gmail_quote">Call for papers: Nostalgias<br>
<br>
A special issue of Volume! The French Journal of Popular Music Studies<br>
<br>
Edited by Hugh Dauncey (Newcastle University) & Christopher Tinker (Heriot-<br>
Watt University)<br>
<br>
Online: <a href="http://volume.revues.org/2914" target="_blank">http://volume.revues.org/2914</a><br>
Version française ici : <a href="http://volume.revues.org/2912" target="_blank">http://volume.revues.org/2912</a><br>
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<br>
Volume!, the French peer-reviewed journal dedicated to the interdisciplinary<br>
study of popular music – seeks contributions for a special issue on nostalgia<br>
and popular music in a variety of national, international and transnational<br>
contexts.<br>
<br>
This issue will explore the ways in which popular-music-related nostalgia is<br>
produced, represented, mediatised and consumed. Morris B. Holbrook and Robert<br>
M. Schindler define nostalgia as "A preference (general liking, positive<br>
attitude or favourable effect) towards experiences associated with objects<br>
(people, places or things) that were more common (popular, fashionable or<br>
widely circulated) when one was younger (in early adulthood, in adolescence,<br>
in childhood or even before birth)" (2006: 108).<br>
<br>
Nostalgia is a perennial feature of the popular-music field, and has assumed<br>
during recent years an increasing prominence within many national contexts.<br>
This issue represents an opportunity to contribute towards defining the field<br>
of popular-music-related nostalgia, engage with and build on existing studies<br>
in disciplines as diverse as popular music studies, cultural studies,<br>
psychological studies and consumer/marketing research, and situate nostalgia<br>
in relation to other associated phenomena such as memory, commemoration and<br>
retro.<br>
<br>
A key aim of this issue is to explore how nostalgia contributes to the<br>
development and status of particular popular music forms and genres. Barbara<br>
Lebrun’s study of French chanson néo-réaliste, which rose to prominence during<br>
the 1990s (e.g. Pigalle, Les Négresses Vertes, and Les Têtes Raides), indeed<br>
highlights the ‘incohérences’ and ‘contradictions’ of the genre, which is<br>
‘réactionnaire et rebelle, vieux-jeu et moderne, élitiste et<br>
collectif’ (‘reactionary and rebellious, old-school and modern, elitist and<br>
collective’) and combines nostalgia, conservatism, protest and distinction/<br>
cultural exclusivity (2009: 59-60).<br>
<br>
The role of popular music nostalgia in identity formation is a further<br>
concern. As Tia DeNora observes, ‘Music can be used as a device for the<br>
reflexive process of remembering/constructing who one is, a technology for<br>
spinning the apparently continuous tale of who one is’ and as ‘a device for<br>
the generation of future identity and action structures, a mediator of future<br>
existence’ (2000: 63). Andy Bennett focuses on ‘how the increasing dominance<br>
of the retro market in contemporary popular culture is enabling respective<br>
postwar generations effectively to relive their youth and to engage in<br>
nostalgic representations of what it means to be young’ and ‘how such<br>
nostalgic perceptions impact on perceptions of contemporary youth and<br>
questions the validity of terms such as “Generation X”’ (2001: 153).<br>
<br>
Media/internet coverage of popular music nostalgia is particularly extensive<br>
in many national contexts. Chris Tinker (2012) has, for example, examined the<br>
significance of popular music nostalgia on French television, particularly<br>
following the launch of the successful Âge tendre et têtes de bois (‘Young and<br>
Headstrong’, David Looseley’s translation) series of concert tours and holiday<br>
cruises. Such coverage has several functions: to represent the past more<br>
positively than the present (‘simple nostalgia’), emphasise joy rather than<br>
the ‘bittersweetness’ (Hirsch 1992; Baker & Kennedy 1994; Madrigal &<br>
Boerstler, 2007...) often associated with nostalgia, represent a fantasy<br>
return to youth, and promote social and cross-generational cohesion. Coverage<br>
also supports popular music nostalgia as a commercial force but problematises<br>
its status within the wider musical and cultural field.<br>
<br>
Of particular importance are the ways in which popular music nostalgia is<br>
experienced by listeners and consumers. Holbrook and Schindler describe, for<br>
example, how, ‘via a process called nostalgic bonding, a consumer’s history of<br>
personal interaction with a product during a critical period of preference<br>
formation that occurs roughly in the vicinity of age 20 (give or take a few<br>
years in either direction) can create a lifelong preference for that<br>
object’ (2006: 109). Cases include informants who ‘experienced strong<br>
nostalgic bonding with musical recordings’ (119), a young DJ who ‘describes<br>
his endless hours spent with a particular mixing device’ (119) and a bass<br>
fiddle/double bass player in New York who ‘focuses on a Metropolitan Transit<br>
Authority (MTA) button given to street musicians who perform in the<br>
subway’ (120).<br>
<br>
A further – more institutional – dimension of the imbrication of nostalgia and<br>
popular music is the way in which public policy has gradually developed<br>
definitions of heritage which extend to cover fields of popular cultural<br>
practice and forms, specifically allowing popular music artists, genres and<br>
works to be included not only in private/commercial ‘Halls of Fame’, but also<br>
to figure in official institutions supported by cultural policy. In the UK,<br>
the National Centre for Popular Music was a short-lived example of this trend<br>
but in other established museums, popular music is increasingly ‘remembered’<br>
either through special collections, or simply made more visible through<br>
curatorial devices such as the V&A museum’s ‘subject hub’ for Pop and Rock<br>
music. In France, the Cité de la musique has established a successful<br>
intermingling of celebration, education and nostalgia through temporary<br>
exhibitions devoted to popmusic artists and genres. Nostalgia is a component<br>
in the transformation of popular music into heritage.<br>
<br>
Other, more general, lines of enquiry include the following:<br>
· nostalgia for specific decades, periods, movements, fashions<br>
· nostalgia and popular music canons<br>
· nostalgia and the past, present and future<br>
· nostalgia and the formation of individual and collective identities/<br>
social cohesion<br>
· nostalgia and (inter)generation<br>
· categories of nostalgia: ‘simple nostalgia’, ‘reflexive nostalgia’;<br>
‘interpreted nostalgia’ (Davis 1979); ‘restorative nostalgia’ and ‘reflective<br>
nostalgia’ (Boym 2001); first-hand (‘real’)<br>
· nostalgia and ‘simulated’ nostalgia (Baker & Kennedy 1994) or<br>
‘vicarious’ nostalgia (Goulding 2002)...<br>
· nostalgia and ‘uncertainties of the present’ (Pickering & Keightley<br>
2006)<br>
· nostalgia and disruption (Davis 1979)<br>
· releases and reissues – music, book and film; cover versions; revivals<br>
and comebacks<br>
· nostalgia in mourning – deaths of artists/musicians and other figures<br>
· nostalgic anniversaries – birth, death and career<br>
· nostalgia in discourses of popular music and culture<br>
· nostalgia tourism (Connell & Gibson 2003)<br>
Again, these are meant to be suggestive, not to define boundaries.<br>
<br>
Deadlines:<br>
<br>
Early abstracts: authors are requested to first send an early 100-200 word<br>
abstract by 30 July 2012.<br>
Deadline for final papers: 1 December 2012<br>
<br>
Format:<br>
<br>
- Word 2004 (.doc), 30.000 to 40.000 characters (incl. spaces,<br>
references etc.) ;<br>
- Times, 12 pts., double spacing ;<br>
- Harvard system of referencing (cf. the guidelines here:<br>
<a href="http://volume.revues.org/1655" target="_blank">http://volume.revues.org/1655</a>).<br>
<br>
Papers must include:<br>
<br>
· a short biography of the author,<br>
· an abstract (100 to 200 words), if possible translated into French,<br>
· 5 to 10 key words, if possible in French and English (please look at<br>
our lists of key words to avoid small variates, English here:<br>
<a href="http://volume.revues.org/39" target="_blank">http://volume.revues.org/39</a> / French here: <a href="http://volume.revues.org/38" target="_blank">http://volume.revues.org/38</a>) as<br>
well as<br>
· the list of artists (musicians, bands, composers, writers, filmmakers<br>
etc.) analyzed (not simply mentioned): <a href="http://volume.revues.org/1635" target="_blank">http://volume.revues.org/1635</a>,<br>
· the musical genres analyzed in the article:<br>
<a href="http://volume.revues.org/900?lang=en" target="_blank">http://volume.revues.org/900?lang=en</a>,<br>
· a geographical index: <a href="http://volume.revues.org/40?lang=en" target="_blank">http://volume.revues.org/40?lang=en</a><br>
· and a chronological one: <a href="http://volume.revues.org/41?lang=en" target="_blank">http://volume.revues.org/41?lang=en</a>.<br>
<br>
All of this must be sent to the following email addresses:<br>
Hugh.dauncey[at]newcastle[dot]ac[dot]uk, C.G.Tinker[at]hw[dot]ac[dot]uk,<br>
equipe[at]seteun[dot]net<br>
<br>
Peer-review process:<br>
<br>
They will be reviewed by Volume’s editorial board, before being sent out to<br>
two or three “blind” peer-reviewers.<br>
Publication is scheduled for October 2013.<br>
<br>
References:<br>
<br>
Baker SM and Kennedy PF (1994) Death by Nostalgia: A Diagnosis of Context-<br>
Specific Cases. In: Allen CT and Roedder John D (eds.) Advances in Consumer<br>
Research 21, Provo, UT: Association for Consumer Research: 169-174.<<br>
<a href="http://www.acrwebsite.org/volumes/display.asp?id=7580" target="_blank">http://www.acrwebsite.org/volumes/display.asp?id=7580</a> ><br>
Bennett A (2001) Cultures of Popular Music. Maidenhead: Open University Press.<br>
Boym S (2001) The Future of Nostalgia. New York: Basic Books.<br>
Connell J and Gibson C (2003) Sound Tracks: Popular Music, Identity and Place.<br>
London and New York: Routledge.<br>
Davis F (1979) Yearning for Yesterday: a Sociology of Nostalgia. New York:<br>
Free Press.<br>
DeNora T (2000) Music in Everyday life. Cambridge University Press.<br>
Goulding C (2002) An Exploratory Study of Age Related Vicarious Nostalgia and<br>
Aesthetic Consumption. In: Broniarczyk SM, Nakamoto K (eds.) Advances in<br>
Consumer Research 29. Valdosta, GA : Association for Consumer Research: 542-<br>
546. < <a href="http://www.acrwebsite.org/volumes/display.asp?id=8719" target="_blank">http://www.acrwebsite.org/volumes/display.asp?id=8719</a> ><br>
Hirsch AR. (1992) Nostalgia: A Neuropsychiatric Understanding. In: Sherry, Jr<br>
JF and Sternthal B (eds) Advances in Consumer Research 19. Provo, UT:<br>
Association for Consumer Research: 390-395. <<br>
<a href="http://www.acrwebsite.org/volumes/display.asp?id=7326" target="_blank">http://www.acrwebsite.org/volumes/display.asp?id=7326</a>><br>
Holbrook MB and Schindler RM (1989) Some exploratory findings on the<br>
development of musical tastes. Journal of Consumer Research 16, 119–124.<br>
Holbrook MB and Schindler RM (2006) RM Nostalgic bonding: Exploring the role<br>
of nostalgia in the consumption experience. Journal of Consumer Behaviour<br>
3(2), 107-127.<br>
Lebrun B (2009) René, Ginette, Louise et les autres : nostalgie et<br>
authenticité dans la chanson néo-réaliste. French Politics, Culture and<br>
Society 27(2), 47-62.<br>
Madrigal R and Boerstler C (2007) Nostalgia Advertisements: A Content<br>
Analysis. In: Fitzsimons G and Morwitz V (eds.) Advances in Consumer Research<br>
34. Duluth, MN: Association for Consumer Research: 424-426.<br>
<<a href="http://www.acrwebsite.org/volumes/v34/acr_v34_139.pdf" target="_blank">http://www.acrwebsite.org/volumes/v34/acr_v34_139.pdf</a>><br>
Pickering M and Keightley E (2006) The Modalities of Nostalgia. Current<br>
Sociology 54(6), 919-941.<br>
Tinker C (2012) Age tendre et têtes de bois: Nostalgia, Television and Popular<br>
Music in Contemporary France. French Cultural Studies 23(3), (forthcoming<br>
August).<br>
<br>
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