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Rosalind Crone

2 About town with Mr Punch D u r i ng his tou r of England in 1826, the German Prince Puckler-Muskau recorded in his diary the vast array of travelling showmen and their colourful entertainments that crowded the streets below his London lodgings. While he wrote that the barrel organs, in particular, proved ‘insufferable’, one diversion caught his attention, the English puppet Punch. The Prince provided a long description of the macabre violence mixed with comedy in this puppet show, as Punch beat each opposing character to death with his stick, from his wife

in Violent Victorians
Andrekos Varnava and Casey Raeside

In recent years numerous scholars have published studies on the views of Punch on British politics, foreign policy, and imperialism, especially from the 1870s to the 1910s, which show that Punch was critical of British foreign and imperial ventures. This chapter shifts the focus onto the end of empire, exploring one of the few violent episodes of British decolonisation, the case of Cyprus. During the early hours of 1 April 1955, in what the British soon realised was no April Fool's Day joke, the Greek Cypriot nationalist group EOKA

in Comic empires
Open Access (free)
Architecture, Building and Humanitarian Innovation
Tom Scott-Smith

cheap, synthetic blankets came in different colours that brightened up the atmosphere for everyone: they were hung like curtains by punching holes in the top and using cable ties as curtain rings; these in turn were suspended around the perimeter of the parasol fabric. The parasols were chosen for their heavy and stable base and the lamp for its flexible cord and clip-on feature. As the architects explained it to me, their role was to get things started – to give a little

Journal of Humanitarian Affairs
Abstract only
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.

Punch and the Armenian massacres of 1894–1896
Leslie Rogne Schumacher

imperial matters of concern in European states rather than to Ottoman affairs. 5 In this context, an examination of British media accounts of the 1894–1896 Armenian massacres is a useful way of accessing the language and values of the British public in that era. This brief study looks at one source, the popular illustrated magazine Punch, or the London Charivari , focusing on what its more than fifty cartoons that directly reference the massacres (most drawn by Sir John Tenniel, Punch 's chief cartoonist; or by Edward

in Comic empires
A case study in colonial Bildungskarikatur
Albert D. Pionke and Frederick Whiting

, and then monthly, fortnightly, weekly, and eventually daily periodicals appeared in vast numbers addressed to broad segments of an increasingly literate population. Frequently illustrated by cartoons and often featuring carefully calibrated segments of in-process novels, periodicals of all sorts, including the paradigmatic Punch , helped to construct the modern state, interpellating readers into imperial and other forms of social fantasy. 2 In fact, the concern of periodicals like Punch with national affairs

in Comic empires
Between respectable and risqué satire in 1848
Jo Briggs

3 ‘The Gutta Percha Staff’: between respectable and risqué satire in 1848 Punch saw itself, and wished to be seen, as respectable. Narratives about Victorian periodical publication, put forward in surveys of the period by Fox, Anderson and Maidment, contextualize Punch’s agenda within transformations of print culture in the mid nineteenth century. Patrick Leary has added significant detail to this picture, with his account of how the running of Punch, the weekly staff meetings at which the publication’s contents were decided, and the controls enacted by the

in Novelty fair
Linley Sambourne, Punch, and imperial allegory
Robert Dingley and Richard Scully

By the closing decades of the nineteenth century, Punch 's leading topical cartoonists, John Tenniel and Linley Sambourne, were able to select from a well-established lexicon of figurative conventions (to which they had themselves contributed) for picturing global politics. 1 Nation-states, for example, might readily be represented by caricatures of their monarchs or principal statesmen; equally, however, they might be embodied in classicised female personifications like Britannia or Columbia

in Comic empires
Romance and the cash nexus at the Great Exhibition
Jo Briggs

had paid the shilling to gain entry widely praised. Particular attention was given to the way that the classes mixed, even with the Queen who visited on the morning of second shilling day. John Leech’s full-page wood engraving for Punch, published on 14 June 1851, ‘The Pound and the Shilling. “Whoever Thought of Meeting You Here?”’ is perhaps the best known visual commentary on the new shilling entry price at the Great Exhibition (see Figure 5.1). The wood engraving shows a group of workers and their families encountering an aristocratic party in a corner of the

in Novelty fair
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The importance of cartoons, caricature, and satirical art in imperial contexts
Richard Scully and Andrekos Varnava

On the evening of Wednesday, 30 November 1892, the cartoonist Edward Linley Sambourne freshened himself up with a Turkish bath before departing as usual for his regular editorial dinner meeting at Punch . 1 The permanent staff and proprietors of the London Charivari had held such meetings almost since the birth of the magazine in 1841, and around the mahogany table in the upstairs room, all manner of discussions were to be had, and decisions to be made, as to the content of the coming week

in Comic empires