This chapter treats Dada as process rather than product, art as event rather than as object. It focuses on carnivalesque spaces where the phantasmagoric body is considered as both nostalgia and parody of end-of-century entertainment. The first section deals with fairground spaces: the photographs of the Dada group; optical machines; and René Clair’s Entr’acte (1924). The allegory of the male magician controlling his female victim is shown to be central to the theme of the dismemberment and reconstitution of the body. Both transgression (of body limits) and regression (a return to infantile fantasies) are thus revealed as modes of resistance to dominant ideologies. The following section extends the notion of performance to Dada texts, via an analysis of body, voice and gesture in Raoul Hausmann’s phonetic poetry. Finally, the performative dimension of Dada exhibitions is addressed in a discussion of the 1920 Dada-Vorfrühling exhibition in Cologne, in order to highlight the ways in which it implicated the body of the spectator.
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.