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.
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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 .
Ideas about the effects of a certain colour, its associations and symbolism, are far from uniform cross-culturally. In addition, the naming of colours is almost impossible to clarify for earlier periods and for other cultures. The complementary colour is the combination of the two other primaries (red plus yellow as complementary to blue). Or (the Newtonian version), the colour which, combined with its primary, makes white in coloured light, grey in coloured paint. In this chapter, the author focuses on the social and personal meanings of colour (mainly blue). In Western Europe since the medieval period there are plenty of examples of shifting meanings of colour terms. Blue, says Michel Pastoureau, was considered a warm colour in medieval and Renaissance Europe, and only began to be seen as cool in the seventeenth century.