Michael Pickering

The Modalities of Nostalgia

Nostalgia has been viewed as the conceptual opposite of progress, against which it is negatively viewed as reactionary, sentimental or melancholic. It has been seen as a defeatist retreat from the present, and evidence of loss of faith in the future. Nostalgia is certainly a response to the experience of loss endemic in modernity and late modernity, but the authors argue that it has numerous manifestations and cannot be reduced to a singular or absolute definition. Its meaning and significance are multiple, and so should be seen as accommodating progressive, even utopian impulses as well as regressive stances and melancholic attitudes. Its contrarieties are evident in both vernacular and media forms of remembering and historical reconstruction. The authors argue that these contrarieties should be viewed as mutually constitutive, for it is in their interrelations that there arises the potential for sociological critique.

Dear Shit-Shovellers: Humour, Censure and the Discourse of Complaint

In this article we analyse letters of complaint about instances of comic discourse where the humour is regarded as overstepping the mark and causing offence. We are particularly interested in how this sense of offence is registered and how complainants articulate the offence for which they seek some form of redress. In pursuing this interest, we seek to bring together two distinctive modes of analysis: linguistic discourse analysis and symbolic cultural analysis. This is methodologically appropriate to the discourse involved because of the ways in which epistolary complaints use forms of linguistic framing for offsetting potential objections to what they want to say, and because of the highly figurative language which is employed in voicing the substantive complaint and the censure of the humour that is entailed in this. Our focus overall is on the underlying ambivalence involved in negotiations between ethical and comic discourse.

Communities of memory and the problem of transmission

In this article we explore the issue of memory transmission by considering it along the two temporal planes on which it occurs: vertically, through time; and horizontally, in time. It is because we regard memory transmission as involving the mutual interaction of these two planes that we introduce the concept of the mnemonic imagination. The value of the concept is that it enables us to see, inter alia, how communities of memory emerge. Our route into this is the sociology of generations and most particularly the evidence of mnemonic transmission provided by second-generation Holocaust narratives. The purpose of the article is to bring together a range of work relevant to the sharing and inheritance of memory across and within time, to explore the application of collective mnemonic frames in processes of personal remembering, and so move us closer to understanding the mechanism by which experience derived from others becomes integrated into our own life-stories.

For the record : Popular music and photography as technologies of memory

Phonography and photography have been extensively discussed and analysed, but their complementary features as media of communication have received relatively little attention. Chief among these is the way in which, as technologies of recording, preservation and retrieval, they have affected forms of social remembering and orientations to historical time. Over the last century and more, phonograph music and photographic images have acquired strong and resonant associations with both personal and public memory, but how they actually help us engage with the past remains difficult to assess. When we look behind their familiar, everyday presence we realise that in their relations with time, memory and the process of remembering, they are both highly accurate and highly elusive. That is the paradox defining their mutual connections with the past.

Experience as horizon: Koselleck, expectation and historical time

This article explores and develops the concept of the horizon as a figurative and analytical device used to negotiate the relations between experience, everyday life and historical time. Its central focus is Reinhart Koselleck’s application of the concept, though it also draws on the work of Karl Mannheim (through his distinction between conjunctive and communicative experience) and Raymond Williams (through his concept of structure of feeling) in order to add to and refine Koselleck’s use of the term in examining the temporal structures of experience and expectation. Our sense of historical time is generated through the tensions between experience and expectation, everyday life and social process. These are, of course, historically variable and contingent. During the course of modernity and late modernity, experience and expectation have become increasingly divergent. Their separation has profoundly affected how we think about historical time in relation to everyday life and the span of a generation and a lifetime. It also turns the conception of history as historia magistra vitae on its head, with modernity increasingly forced to fund itself ethically out of its own transient present. The article discusses the main aspects of these changes and how they have altered the balance between the space and horizon of experience and expectation. It attends both to the need to examine historical concepts in terms of their various meanings and implications, and to the ways in which the particular concept of the horizon can help illuminate the consequences of accelerating time in the conditions of modernity and late modernity. The diminution of historical understanding in relation to everyday life is seen as among the most serious of these consequences.

The self-interview: a new method in social science research

This article presents the new method of self-interviewing as an empirical tool specifically for use in memory studies research. The article traces some of the empirical limitations specific to the field of memory studies and reviews the existing tools used in this area. It particularly focuses on some of the limitations of qualitative interviewing, the memory work method and diary methods in generating data on the processes of vernacular remembering at the same time as making visible the meaning that remembering has for participants in their everyday lives. We propose the self-interview as a method which addresses some of these limitations. In elaborating the value of the self-interview, we draw extensively on fieldwork that we have conducted using this method. Although the self-interview does not divest memory studies of the need for a range of other methods, the self-interview is an important addition to its currently rather sparse methodological tool kit.

Everyday Culture. Popular Song and the Vernacular Milieu

Towards a cartography of the Vernacular Milieu the past as a source of social aspiration - popular song and social change parody and performance James Lyons - singer and story-teller - his repertory and aesthetic West Country gypsies - key songs and community identity the ethogenics of music performance - a case study of the Glebe Live Music Club. Conclusion: studying the everyday arts.

Technologies of memory: Practices of remembering in analogue and digital photography

This article demonstrates the need always to consider change against continuity and continuity against change in the analysis of mnemonic technologies. It does so by exploring what has happened in the move from analogue to digital photography, looking, in particular, at how this has affected the meanings of personal photographs and the practices of remembering associated with them. In contrast with technologically determinist perspectives which have been, however latently, manifest in writing on new media, the value of exploring vernacular photography as a specifically mnemonic practice is that it turns our attention to the ways in which photographic practices are bound up with longer term social uses and cultural values. Our analysis focuses on changes in four key categories of photographic practice that relate to the analogue/digital shift: photo-taking, photo-storing, photo-viewing, photo-sharing – all of which have consequences for the uses of photography as a mnemonic resource. They have all been altered in varying degrees by the advent of digital technologies, but with people continually making comparative evaluations of old and new, drawing on the former as a key aspect of learning how to use the latter.

Trauma, discourse and communicative limits

Trauma is a term that is widely used in memory studies, along with a number of other academic fields and disciplines. This article takes issue with its loose and indiscriminate application. Such application generates an unresolved paradox: trauma is associated with memories of events that are uncontrollable, yet large-scale commemorative practices or processes of social reconciliation assume that experiences of these are controllable, amenable to being assimilated into narrative form and so available for rhetorical purposes. Following an examination of this paradox, the article looks in detail at two examples of experience involving painful memories of two kinds – those which have become integrated into relatively easily told stories, and which can then involve rhetorical work, and those which have not become woven into a life-narrative and so are not available for such work. The article also considers some of the methodological and analytical problems that occur when traumatic or painful memories arise in the course of sociological fieldwork.

Harmonious relations? Music at work in the Rowntree and Cadbury factories

The history of music in the workplace is a neglected area of study. This article explores the policies towards music in the paternalist Rowntree and Cadbury confectionery factories from the late nineteenth to the late twentieth century. We argue that the two firms were pioneering in their early use of music before becoming key players in the industrial welfare movement following the First World War. The broadcasting of music by Rowntree and Cadbury in the mid to late twentieth century is then placed in the context of a widespread adoption of tannoyed music in factories. We argue that music was employed as a means of easing the monotony of factory work whilst simultaneously aiming to improve productivity levels. However, as we demonstrate through oral history, women workers experienced music in ways not always in tune with management objectives.