Taking a small portrait by Ravi Varma of a scholar reading in the glow of a
lamp as a servant waits upon him in the background shadows, this chapter
evaluates the emergence of the elitist figure of the artist against the
backdrop of the subaltern craftsman. The differential inscription of light
marks their place within the new order of visibility – the named artist
whose face glows in the lamp and the anonymous craftsman marked by his
labour. Keeping in mind recent art-historical scholarship that has tended to
view the figure of the artist as the paradigmatic modern subject, this
chapter tracks the developments in portraiture and the assertion of
individualism, arguing that the representation of the elite artist allowed
for a way to transition from the dominant anthropological model of
portraiture popular in nineteenth-century India to the fiction of the
assured subjectivity of later portraits.
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.