A discourse on veiling and unveiling was implicated in changing notions of
the body in nineteenth century India, prominent amongst which was the place
of the female nude. Introduced by European artists and taught at the
British-run academic art schools in India, the nude was also displayed in
the houses and palaces of the elite as a symbol of good taste. This chapter
argues that this idea of the nude – as the body shorn of all clothing – was
premised upon Enlightenment ideas of the ‘naked truth’ that assumed the
naked body as ‘natural’ and prior to representation. In the Indian context,
however, as many authors have noted, it was the adorned body that was
regarded as auspicious. This chapter evaluates how the female body becomes
the site of an inordinate erotic investment in nineteenth-century Indian
pictorial practice, premised upon exactly such a mechanism of veiling and
unveiling, providing us with some historical perspective in recent debates
on nudity in Indian painting.
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.