By Hans Harder (auth.), Hans Harder, Barbara Mittler (eds.)
This e-book offers with Punches and Punch-like magazines in nineteenth and twentieth century Asia, protecting a space from Egypt and the Ottoman Empire within the West through British India as much as China and Japan within the East. It strains an alternate and mostly unacknowledged part of the historical past of this well known British periodical, and concurrently casts a wide-reaching comparative look at the genesis of satirical journalism in a variety of Asian international locations. Demonstrating the unfold of either textual and visible satire, it's an apt demonstration of the transcultural trajectory of a structure in detail associated with media-bound public spheres evolving within the interval concerned.
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Additional resources for Asian Punches: A Transcultural Affair
5 A double page spread from the British Almanac for 1828 published by the society for the diffusion of useful knowledge that shows the characteristic layout used for each month’s entry denunciation, were forced to turn from etching and engraving to the linear and tonal simplifications of wood engraving in order to survive. As Newman’s silhouettes here demonstrate, such images belonged to a Regency idiom that was fast becoming outmoded. But Punch in its early years at least was keen to maintain the carnivalesque abundance and energy of Regency graphic humour alongside its very particular development of the wood engraving, with its more naturalistic, even documentary, aspirations.
Of course, this sort of cultural migration is in itself nothing new. Since antiquity tangible goods and intangible commodities, such as ideas and technologies, have travelled great distances to foreign lands, where they were reinterpreted, reassembled, transformed and occasionally assimilated. The newness lies in the sheer scale and self-conscious manner in which these transmissions took Global Moments and Movements, 1880s–1930s, eds. Sebastian Conrad and Dominic Sachsenmaier (New York: Palgrave, 2007), 1–9; 3.
That the Almanacks, which were seemingly ineluctably tied to a particular temporal moment, were successfully reprinted in volume form, suggests how far the decorative and apolitically comical elements of Punch outweighed political and social satire—this is not to say, of course, that there are not outspoken or controversial images in the Almanack. 35 The Editors of “Punch, or the London Charivari”, A Shilling’s Worth of Nonsense (London: Bradbury and Evans, 1842). Orr, 1843). 37 But several were successful.