ABSTRACT

Nostalgia (nostos ‘return home’ plus algia ‘longing’), first diagnosed and named in the seventeenth century, was a disease that, as Svetlana Boym points out, became less curable and more mysterious in its pathology as time passed, resistant to reason and Enlightenment in the eighteenth and nineteenth centuries. As an ‘historical emotion’ that ‘came of age’ with Romanticism and mass culture, nostalgia has continued to spread in this century, shaping aspects of everyday life from pop cultural entertainments to national politics. Emphasizing Dracula and its adaptations and shifting away from a more common focus on sex or romance as the source of vampiric appeal, this discussion argues for the role that nostalgic desires, seductions and illusions play in our relationship with one of popular culture’s most enduring monsters. Focused on how vampire fictions have fed upon what Boym sums up as ‘an affective yearning for a community with collective memory’ and ‘a longing for continuity in a fragmented world’, this essay concerns itself with the narrative, aesthetic, material and cultural manifestations, and the ideological investments, of vampire nostalgia.

摘要

怀旧（nostos 'return home' 加上algia 'longing'），在 17 世纪首次被诊断和命名，是一种疾病，正如 Svetlana Boym 指出的那样，随着时间的推移，它的病理学变得越来越难治愈，越来越神秘，对理性有抵抗力和 18 世纪和 19 世纪的启蒙运动。作为一种随着浪漫主义和大众文化“成熟”的“历史情感”，怀旧在本世纪继续蔓延，塑造了从流行文化娱乐到国家政治的日常生活的方方面面。强调德古拉以及它的改编和从更普遍的将性或浪漫作为吸血鬼吸引力的来源的转变，这个讨论论证了怀旧的欲望、诱惑和幻想在我们与流行文化中最持久的怪物之一的关系中所扮演的角色。专注于吸血鬼小说如何依赖博伊姆所说的“对具有集体记忆的社区的情感渴望”和“对支离破碎的世界的连续性的渴望”，这篇文章关注的是叙事、美学、物质和文化表现形式以及对吸血鬼怀旧的意识形态投资。