By Hans Harder (auth.), Hans Harder, Barbara Mittler (eds.)
This booklet 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 another and mostly unacknowledged facet of the historical past of this renowned British periodical, and concurrently casts a wide-reaching comparative look at the genesis of satirical journalism in quite a few 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 info for Asian Punches: A Transcultural Affair
22 The Comic Almanack used a small page structured as a parody of the traditional almanac page and combined full page etchings by Cruikshank with many small wood engraved images dropped into the text (Fig. 7). Punch built many spreads from a similar combination of illustrative components, though instead used wood engraving rather than etching for the full page images. Several contributors later worked for Punch, although Cruikshank, almost alone among gifted comic artists of the 1840s, never contributed to the magazine.
The ice around a notice board has given way, causing one skater to cling desperately to the pole supporting the notice. A second skater, shown in a cut away diagram, has been upended with his feet sticking up vertically through the hole in the ice, his head submerged. The reversal is so absolute that the skater suddenly finds himself discoursing with fish rather than people, while his legs wave comically in the air. This visual trope of sudden reversal is given added force by the verbal content of the image, where a crack in the notice-board has startlingly turned the noun ‘notice’ into the self-evident but nonetheless disconcerting pronouncement ‘not ice’.
6 (1844), p. 212 There were precedents for such a shape and size of page, and for the kind of organisation of text and image on the page—most obviously the radical/progressive satirical journal Figaro in London, edited by Gilbert a` Beckett (who was to become a major contributor to Punch) which ran successfully through much of the 1830s 22 B. Maidment Fig. , Gallery of comicalities, embracing humorous sketches by the brothers Robert and George Cruikshank, Robert Seymour, and others, part IV (London: Charles Hindley, 1891).
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