By Hans Harder (auth.), Hans Harder, Barbara Mittler (eds.)
This booklet offers with Punches and Punch-like magazines in nineteenth and twentieth century Asia, masking 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 aspect of the heritage 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 truly 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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Extra info for Asian Punches: A Transcultural Affair
39 Fun was also successful in turning itself into a ‘brand’, and followed Punch in issuing volumes of cartoons drawn from its pages. Again like Punch, Fun used the travesty of public discourses as a central element in its humour, and offered its readers a broad range of political, burlesque and visual commentary and parody that required considerable sophistication from its readers to be understood. 40 Other journals like the Tomahawk (1867–1870), which espoused a radical brand of conservatism, the more orthodoxly conservative Moonshine (1879–1902) and Will O’ The Wisp (1867–1871) were explicitly more sectarian in their views than Punch or Fun, and combined satire with a range of serious commentary or, in the case of Moonshine, extensive theatre reviews.
Additionally, the stereotype graphic versions of public figures that its artists had evolved became a source of amusement and pleasure in their own right regardless of their association with particular political issues. This notion of the ever available, continuously reprinting Punch goes a long way towards explaining its dominance of the comic and satirical element in the popular consciousness, and was certainly something that no other satirical magazine could match. The relatively short life and limited circulation of Punch’s rivals, as well as the lack of resources provided by its printer/publisher Bradbury and Evans, seems to have precluded journals like Judy and Fun from using a similarly ambitious reprinting policy.
1 1 Sebastian Conrad and Dominic Sachsenmaier, “Introduction: Competing Visions of World Order: Global Moments and Movements, 1880s–1930s,” in Competing Visions of World Order: P. com H. Harder and B. 1007/978-3-642-28607-0_3, # Springer-Verlag Berlin Heidelberg 2013 47 48 P. Mitter The comic magazine Punch, or The London Charivari, founded in 1841, was the main inspiration behind political and social cartoons and humorous magazines in India. What was the reason behind the enduring success of Punch while others existed only briefly?
Asian Punches: A Transcultural Affair by Hans Harder (auth.), Hans Harder, Barbara Mittler (eds.)