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 lines an alternate and principally 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 numerous Asian international locations. Demonstrating the unfold of either textual and visible satire, it really is 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
The Presence of Punch in the Nineteenth Century Fig. 13 Title page of A Shilling’s Worth of Nonsense (1842) 37 38 B. Maidment printed by Bradbury and Evans and written by ‘the editors of Punch or the London Charivari’ (Fig. 35 With its highly decorative, whimsical printed paper board covers, full page wood engravings on tinted paper, as well as vignettes and miscellaneous ‘essays’ offering a pastiche of serious magazines, this little book (which in fact cost half a crown) operates in the ground between the expensive gift book annual and the ephemeral humour of Punch, perhaps because of its place in the early days of the magazine.
Cambridge: Lutterworth Press, 1996), vol. 2; 8–10, 79–80, 189–190, 198–200. 28 B. Maidment in the down-market popular almanacs—the burlesque ‘Prophetic’ paragraph at the bottom of the right hand column offers an immediate example of the delight Punch took in irrationality and mumbo-jumbo, rounded off in true Regency style with a visual/verbal pun. In the tiny accompanying silhouette the cosmic pseudo-insights of the predictive almanac are bathetically translated into early Victorian street culture—a milkmaid on her street rounds is tripped by a frantic pig that is being chased by a tiny dog and is thus, punningly, ‘in the milky way’.
The fact that these artists were 38 Brake and Demoor, Nineteenth Century Journalism, 327–328. Ibid. 40 Vann and van Arsdel, Victorian Periodicals, 287. Thackeray is rumoured to have referred to the magazine as Funch so closely did it resemble its old established rival. 39 The Presence of Punch in the Nineteenth Century 41 Fig. 15 Title page of Fun new series, vol. 14 (1872) prominently named in their respective magazines suggests their importance to the success of their respective journals. The second central strategy these magazines derived from Punch was the necessity of developing a branded satirical persona to serve as the ‘voice’ or collective identity of the periodical and its contributors.