The chapter situates Dada in the historical and social context of wartime and post-war Europe. It argues that Dada’s limit-forms of the body both reflect the chaos of the times through the absurd and irrational, and reflect on the post-war ‘return to order’ with the satirical. An aesthetics of the body is outlined, founded on the grotesque on the one hand and anti-classicism on the other. Since Dada’s corporeal images are considered as constructs rather than mimetic, fictional rather than realistic, the principle and practice of montage (photomontage, collage, assemblage) are considered central to the depiction of the human figure. It is suggested that Dada’s corporeal images occupy an ambivalent space, between battlefield and fairground, as both utopian and dystopian bodies. The critical and theoretical framework of the study is outlined, as well as a critical overview of existing literature on the topic.
In this chapter, the author, through a family history, speaks of how forced exile persists through generations. He narrates the series of events that took place after he left England and moved to United States, including the catastrophic failures of nuclear reactors. The discussion largely focuses on the incidence of cancers caused by exposure to radioactivity in England, and the impact it had on Anglo-American relations. The author also showcases the differences between English and American cultures.
In this chapter, the author discusses the cultural life in Rochester, New York, in the 1920s. The city of the 1920s is often referred to as 'Mr Eastman's town'. Economically, the first three decades of the twentieth century had been described as Rochester's golden age, and the centrality of Eastman-Kodak to the city's prosperity had important cultural consequences. The establishment by George Eastman of the Eastman School of Music and the Eastman Theatre in 1922 was the single most important event marking the 'end of provincialism'. The 'Rochester Renaissance' owed a lot to Eastman's wealth and philanthropy .
In this chapter, the author explains the internment of aliens in Britain during the Second World War. The 'internment of aliens' is a peculiar and rather hysterical measure taken by the British government after Dunkirk. The author describes his father as an alien. He is alien to Britain and to English culture. He came to Britain from Germany in February 1938, was a class C 'enemy alien' (recognised as a genuine refugee, and officially designated a 'friendly' enemy alien). The classifications were made by wartime tribunals set up in Britain in 1939.