Acknowledgments | p. ix |
Introduction: Cyborgs, Hybridity, and Identity | p. 1 |
Berlin Dada: Origins, Practices, and Institutions | p. 25 |
Hannah Hoch's Cut with the Kitchen Knife: Photomontage, Signification, and the Mass Media | p. 65 |
Raoul Hausmann's Revolutionary Media: Dada Performance, Photomontage, and the Cyborg | p. 105 |
The Militarized Cyborg: Soldier Portraits, War Cripples, and the Deconstruction of the Authoritarian Subject | p. 153 |
The New Woman as Cyborg: Gender, Race, and Sexuality in the Photomontages of Hannah Hoch | p. 199 |
Conclusion: Dada Cyborgs in the Twenty-first Century | p. 255 |
Notes | p. 259 |
Index | p. 311 |
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