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Laurie Johnson

seems to be upset soon after with the introduction to the fairy realm in Act 2, Scene 1. The scene begins with Robin Goodfellow, ‘a puck’ – although the defining phrase is missing from the relevant stage direction in the First Quarto of 1600 – and a fairy, whom Robin calls ‘spirit’ (2.1.1), in conversation. 6 This spirit tells Robin that she serves ‘the Fairy Queen’ (2.1.8), signalling a very contemporary analogue: the second instalment of Edmund Spenser's Faerie Queene was published in 1596 (the first in 1590

in Shakespeare and the supernatural
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Imperialism in cartoons, caricature, and satirical art

Comic empires is a unique collection of new research exploring the relationship between imperialism and cartoons, caricature, and satirical art. Edited by leading scholars across both fields, the volume provides new perspectives on well-known events, and also illuminates little-known players in the ‘great game’ of empire. It contains contributions from noted as well as emerging experts. Keren Zdafee and Stefanie Wichhart both examine Egypt (in the turbulent 1930s and during the Suez Crisis, respectively); David Olds and Robert Phiddian explore the decolonisation of cartooning in Australia from the 1960s. Fiona Halloran, the foremost expert on Thomas Nast (1840–1902), examines his engagement with US westward expansion. The overseas imperialism of the United States is analysed by Albert D. Pionke and Frederick Whiting, as well as Stephen Tuffnell. Shaoqian Zhang takes a close look at Chinese and Japanese propagandising during the conflict of 1937–1945; and David Lockwood interrogates the attitudes of David Low (1891–1963) towards British India. Some of the finest comic art of the period is deployed as evidence, and examined seriously – in its own right – for the first time. Readers will find cartoons on subjects as diverse as the Pacific, Cuba, and Cyprus, from Punch, Judge, and Puck. Egyptian, German, French, and Australian comic art also enriches this innovative collection. Accessible to students of history at all levels, Comic empires is a major addition to the world-leading ‘Studies in imperialism’ series, while standing alone as an innovative and significant contribution to the ever-growing field of comics studies.

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Jan Montefiore

ex-soldiers Edmund Blunden and Siegfried Sassoon who, as Harry Ricketts shows here, received both his History of the Irish Guards and his war poems less than enthusiastically, while his stories’ contribution to the postwar literature of mourning was largely ignored. Although the Jungle Books, the Just-So Stories, the ‘Puck’ books and Kim continued to be widely read and loved by British middle-class children throughout the twentieth century, Kipling’s work for adults was increasingly read in terms of ‘plain man’ conservatism, and the sermonising or demotic poetry

in In Time’s eye
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Hidden gardens and the haunting of childhood
Francesca Bihet

and the wild children Rudyard Kipling's books Puck of Pook's Hill ( 1906 ) and its sequel Rewards and Fairies ( 1910 ) incorporate a motif anticipating some Cottingley themes: two children playing in a space just beyond the realms of their garden where they encounter fairies. Puck lives in an ancient hill at the bottom of Dan and Una's garden, he is the last fairy in England and through him they meet a whole cast of historical characters. Dan and Una act A Midsummer Night's Dream three times on Midsummer's Eve just under Pook's Hill, thus

in EcoGothic gardens in the long nineteenth century
The iconography of Anglo-American inter-imperialism
Stephen Tuffnell

historian of visual culture Bonnie Miller has noted – gave them a ‘critical voice in the unfolding dialogue about American foreign policy’. 2 As the chapters in this volume make clear, cartooning was an imperial medium. Just as British comic art came of age in the context of a rapidly expanding British Empire, in the United States, graphic artists were key protagonists in the ‘Great Debate’ over empire that convulsed turn-of-the-century American politics. What follows focuses on the leading illustrated journals of Puck

in Comic empires
Representing the supernatural in film adaptations of A Midsummer Night’s Dream
Gayle Allan

referring to the lovers or Bottom. 4 What is more pertinent is the requirement and expectation of great speed from the fairies. The word ‘swift’ is used often in terms of the fairies’ comings and goings. Early in Act 2, the fairy tells Puck they have wandered ‘swifter than the moon's sphere’ (2.1.7). Oberon asks Puck to go ‘swifter than the wind’ (3.2.94) to find Helena, and Puck responds he will go ‘[s]wifter than arrow from the Tartar's bow’ (3.2.101). However, the key moment in the

in Shakespeare and the supernatural
The image of England in Victorian and Edwardian juvenile fiction
J. S. Bratton

sentences, they were nevertheless potential vehicles for the lessons of imperialism, if they could be effectively ficionalised for older readers. Few writers accepted the challenge until Kipling did so in Puck of Pook’s Hill (1905). There he presents, along with several other things, a very skilfully interwoven version of the Roman and the Norman

in Imperialism and Popular Culture
Kipling among the war poets
Harry Ricketts

glimpsed in poems like ‘The Manor Farm’:   a season of bliss unchangeable Awakened from farm and church where it had lain Safe under tile and thatch for ages since This England, Old already, was called Merry.24 This is a version of the Albionism Kipling had been more explicitly tapping in his ‘Puck’ stories and poems (and which can be traced back to a thicket of nineteenth-century writers including Arnold, Tennyson, Jefferies and Morris). So a poem like ‘The Run of the Downs’ in Rewards and Fairies with its celeb­ ratory list of place-names asserting England’s age

in In Time’s eye
Emily and Arcite in A Midsummer Night’s Dream
Helen Barr

, heteronormative couplings. But the name games, the textual uncertainty and the role reversals around Philostrate wrinkle Arcite, who, like Emily, will have impeded dynastic resolution, into the play. Puck’s sweeping behind the door (5.1.380–1) to secure Dream’s happy ending is a figure for the play’s mechanisms of prophylaxis. ‘Now are frolic’ he declares (378). Nothing is allowed to ‘disturb this hallowed house’: not hunger, weariness, woe, wild animals, death or gaping graves (361–72). Puck (whose stage double is Philostrate) speaks a catalogue of dangers in the compulsory

in Transporting Chaucer
Semiramis and Titania
Lisa Hopkins

, He live i’th’open fields, hiding his head In dampish caves and woods. (I.2.151–158) Ireland is a surprising and apparently previously unnoticed subtext of A Midsummer Night’s Dream . It is most strongly associated with the character of Puck, unsurprisingly

in Goddesses and Queens