By Hans Harder (auth.), Hans Harder, Barbara Mittler (eds.)
This e-book bargains with Punches and Punch-like magazines in nineteenth and twentieth century Asia, overlaying 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 part of the historical past of this renowned British periodical, and at the same time 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 truly is an apt demonstration of the transcultural trajectory of a layout 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
The distinctively ‘square’ shape of the Punch page became a key element of its identity (Fig. 4). A second obvious feature of the Punch page, which is clear from both Figs. 2 and 3, is that it could only be conceived and constructed through the medium of wood engraving. There isn’t time here to rehearse the complex history of the wood engraving from its revival by Thomas Bewick at the end of the eighteenth century who used end-grain blocks as both a medium of scrupulous scientific accuracy and as a new form of miniaturised aesthetic expressiveness in mass circulation educative journals such as The Penny Magazine, to becoming the dominant medium of Victorian self-representation associated with unproblematic naturalism in journals like The Illustrated London News.
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. In doing this, of course, 42 B. Maidment Fig. 16 A page from the first volume of Figaro in London (1832) with wood engravings by Robert Seymour journals were following a long tradition of the figuration of public voices through the mechanisms of semi-mythical individuals—early in the nineteenth century, British identity was often figured through John Bull.
This perennial question assumes special urgency during the high tide of imperialism, which represents the first great phase of globalisation. Therefore, in order to pose general questions about the nature and mechanism of transfers of ideas and technologies across cultures, and their impact on those who receive them, one needs to shift the discussion over to the debate on globalisation. The urgency of this debate is underscored by the concern of this publication to discuss Punch as a transcultural phenomenon.