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The utterly un-nostalgic person is probably a non-existent being. At both a personal and collective level, we explore how nostalgia is experienced and in demand during times of transition, disjuncture, conflict and uncertainty. This chapter explores the emotion of nostalgia and connects it specifically to the current corona pandemic – the challenges of lockdowns and social distancing measures on interaction, feelings of loneliness and a generalised sense of uncertainty and despair, and also a rise of nostalgia as a possible response to these challenges. The predominant view of nostalgia put forth in this chapter is that nostalgia has the capacity to provide a great deal of benefit (meaning, hope, direction and purpose) to individuals, groups, institutions and societies at large. Indeed, nostalgia can be a tranquil feeling in a fearful world. We relate nostalgia to studies and experiences from the pandemic period and speculate on how the so-called ‘corona crisis’ may impact feelings of nostalgia in the post-pandemic world – perhaps even a nostalgia and longing for the pandemic period itself.

If the corona pandemic has in fact sparked a new (or renewed) interest in nostalgia in contemporary society due to the corona pandemic, it may indeed prove to be a positive thing, particularly if it makes it easier for people to deal with current feelings of adversity and anxiety. We suggest the nostalgia mood that is generated and perpetuated by the continuing twists and turns of the corona pandemic may – in the short and long run – prove useful in coping with and giving meaning to the problems and perplexing circumstances of life, rather than being a regressive phenomenon. Perhaps, something good may, in the end, grow from something bad?

Understanding a prima facie attraction of retro pop-rock by a broad spectrum of people and the role of technology innovation in driving the importance of this genre. A key idea of this paper is that ongoing popularity of retro pop-rock music is associated with a confluence of demand-side and supply-side factors. The demand side is thought to be characterized by a combination of psychological factors contributing to individuals’ desires to enjoy, reflect on, or even “live in” the past. On the supply-side, technology has roles in the production, distribution and consumption of music.

The approach of this paper is to provide an extensive search and synthesis of relevant literature and to present and analyze findings from online surveys.

The literature supports the idea that attraction to retro music is heavily influenced by psychological factors as well as technology innovation. The survey provides supporting evidence. Of particular interest are findings related to correlations between nostalgia and technology.

This study is, to the authors’ knowledge, one of the first to provide a survey-based link between the attraction to retro music to nostalgia and technology.

Urban sociological research posits a strong correlation between social isolation and the growth in illicit activities of street culture, namely the drug trade and violent gang activities. However, in this article we offer an explanation for why, even in the absence of extreme poverty and social isolation from mainstream institutions, youths in Cambridge, Massachusetts feel vulnerable to illicit street cultural activities. We also offer an explanation for why these youths perceive the effects of social dislocation to be similar to that experienced by youths from larger central cities. As we will elaborate below, some students in Cambridge are affected by illicit street cultural activities because: (1) social dislocation is a relative phenomenon and not merely an absolute phenomenon as described by William J. Wilson; (2) there is a social dislocation spill‐over effect from larger central cities that intensifies or amplifies the experiences of youths in the relatively poorer neighborhoods of Cambridge; (3) and some youths, from stable working‐class or wealthier neighborhoods in Cambridge, view involvement in the illicit activities of street culture as a reputable means of gaining peer respect through status group affiliation.

This chapter analyses the character of Mrs Coulter in BBC/HBO TV show His Dark Materials (2019–ongoing). Mrs Coulter shows clear links with traditional fairy tale figures; in the words of actor Ruth Wilson, ‘She's fairy godmother and she's the nasty queen. She's like Snow White, and she's the Wicked Witch’ (HBO, 2019). Keeping in mind these intertextual references, but focusing on the text, I am going to study the ways in which Mrs Coulter's ‘being evil’ is constructed: are any motivations provided to account for her becoming evil?

Are we supposed to feel sympathy for her – a woman struggling for power in a patriarchal society? How do her interactions with other characters modify the ‘traditional’ roles she evokes and her perceived evilness? To answer these questions, I will employ theoretical tools stemming from queer theory and positioning theory. While arguing for the usefulness of such theoretical outlook for the study of villains, I aim to prove that Mrs Coulter is depicted as a thwarted good character, ruined not only by societal sexist norms, but also by the internalization of ideals typical of toxic masculinity.

Browsing rooms are those alluring spaces in the college or university library where the reader may shut out the flood and clamor of information. Here the imagination and personal interests of the reader are nurtured. Today's browsing rooms are vestiges of the 1920s and 1930s, developed in an era when academic libraries vigorously promoted recreational reading interests of students. As repositories of works chosen from the main collection for their ability to uplift, relax, and stimulate the student reader, the browsing collection in the college library of the 1930s was itself the embodiment of readers' advisory, that Cadillac of public library services.