11/8/2022 0 Comments Childhood nostalgiaThe essays collected in this volume aim to fill this void. Several excellent publications have dealt with television’s uncertain condition, but few have taken the specific question of what television’s transformations mean for the discipline of Television Studies as a starting point. Some are gleefully announcing the death of television, others have been less sanguine but insist that television is radically changing underneath our eyes. Television as we knew it is irrevocably changing. CHILDHOOD NOSTALGIA TVMore generally, TV fiction can be used as an instrument in the construction of national images through references to national culture, history, language and national types (Dhoest 2004), and more broadly by showcasing national symbols, territory, institutions, religion, folklore, gastronomy, sports, etc. Soaps, in particular, are often considered as representations of 'ordinary', everyday life in the nation (Turner 2005 O'Donnell 1999), complementing universal conventions with 'local' elements such as stars, settings and iconography (Moran 1998), accents and locations (Moran 2000), landscapes and lifestyles (Dunleavy 2005), (minority) languages and cultural assumptions (Franco 2001 O'Donnell 2001), and cultural values (Kreutzner and Seiter 1991). 1 This leads to an important and growing output, fuelled by the audience preference for such fare (which will be addressed below). Fiction, too, is a programme category that is still closely linked to nationality, particularly in Europe where the strong import of American fiction has led to a focus on the own culture in domestic fiction (Newcomb 1997). They also challenge the traditional treatment modalities and recommend further research and discussion into rhetoric(s) such as play as power and identity. The findings of the study support an occupational justice approach to occupational therapy, which requires interdisciplinary research and practice, in order to inform policies such as the Open Streets initiatives that should promote children and young people's meaningful participation in society. It reports on a study conducted to gain insight into street play from the perspectives of this group of young people, with the purpose of informing occupation-focussed occupational therapy with this population in contexts similar to Belhar. This paper explores the experiences of pre-teens who engage in street play within the context of Belhar, South Africa. What people do every day - which may promote meaning, health and well-being - is regarded as occupation within occupational science and occupational therapy. There is currently no documented research which describes the meaning children and young people ascribe to street play. Street play is often overlooked as an important activity for young people and can have negative connotations associated with it. In this context, childhood nostalgia feeds into perennial anxieties about children as always potentially corruptible by outside influences, while also being a more specific response to new power relationships between adults and children, and changing work cultures in advanced capitalist societies. It then examines how the nostalgia for childhood as a separate space outside of adult manipulation and control sits uneasily with the increasing constraints placed on children by political, legal and educational institutions. However, it goes on to argue that childhood nostalgia remains a complex phenomenon because it is manifested not only in the narrative construction of fantasy childhoods, but in textual fragments, photographs and everyday objects that produce disjointed feelings of desire and mourning. It begins by linking a critique of nostalgia as idealistic and regressive to a deconstructive reading of the myth of childhood innocence, and shows how this myth has been mobilized in the heritage industry. This article explores some of the meanings and functions of childhood nostalgia in contemporary culture.
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