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"This enormous selection, which must rank as one of the best cartoon compilations of all time, has been specially selected by Helen Walasek of the Punch Cartoon Library and former curator of the Punch Collection. Leafing through its pages you are transported from the parlors and drawing rooms of the 19th century, with insolent servants and arrogant aristocrats, through the smoggy streets and crowded omnibuses of the cities, to the open fields of the country where "townies" shelter from the rain to the scorn of the locals, and would be fishermen and golfers find frustration." "The First World War brings a brash patriotism that leads to a cynical look at the hedonism of the Twenties, pokes fun at the new suburbanites and celebrates the growth of mass entertainment and travel. With the coming of World War Two all the restrictions, foibles and fears of wartime on the Home Front and in the Armed Forces are reflected in Punch's cartoons. But the fun returns with the post-war boom. Consumerism develops, then it's into the Swinging Sixties - popular music, modern art and youth in rebellion. The excesses of the Eighties are chronicled and Nineties are chronicled too. Mr. Punch's cartoonists were there to observe it all, and yon can too, in the pages of this magnificent tome." --Book Jacket.
Best known today as the illustrator for Lewis Carroll's Alice books, John Tenniel was the Victorian era's chief political cartoonist. This extensively illustrated book is the first to draw almost exclusively on primary sources in family collections, public archives, and other depositories. Frankie Morris examines Tenniel's life and work, producing a book that is not only a definitive resource for scholars and collectors but one that can be easily enjoyed by everyone interested in Victorian life and art, social history, journalism and political cartoons, and illustrated books. In the first part of the book, Morris looks at Tenniel the man. From his sunny childhood and early enthusiasm for sports, theater, and medievalism to his flirtation with high art and fifty years in the close brotherhood of the London journal Punch, Tenniel is shown to have been the sociable and urbane humorist revealed in his drawings. According to his countrymen Tenniel's work--and his Punch cartoons in particular--would embody for future historians the "trend and character" of Victorian thought and life. Morris assesses to what extent that prediction has been fulfilled. The biography is followed by three parts on Tenniel's work, consisting of thirteen independent essays in which the author examines Tenniel's methods and his earlier book illustrations, the Alice pictures, and the Punch cartoons. She addresses such little-understood subjects as Tenniel's drawings on wood, his relationship with Lewis Carroll, and his controversial Irish cartoons, and inquires into the salient characteristics of his approximately 4,500 drawings for books and journals. For lovers of Alice, Morris offers six chapters on Tenniel's work for Carroll. These reveal demonstrable links with Christmas pantomimes, Punch and Judy shows, nursery toys, magic lanterns, nineteenth-century grotesques, Gothic revivalism, and social caricatures. In five probing studies, Morris demonstrates how Tenniel's cartoons depicted the key political questions of his day--the Eastern Question, which brought into opposition the great rivals Gladstone and Disraeli; trade-union issues and franchise reform; Irish resistance to British rule; and Lincoln and the American Civil War--examining their assumptions, devices, and evolving strategies. An appendix identifies some 1,500 unmonogrammed drawings done by Tenniel in his first twelve years on Punch. The definitive study of both the man and the work, Artist of Wonderland gives an unprecedented view of the cartoonist whose adroit adaptations of elements from literature, art, and above all the stage succeeded in mythologizing the world for generations of Britons. Not for sale in the British Commonwealth except Canada Available in the British Commonwealth, excluding Canada, from Lutterworth Press
This work has been selected by scholars as being culturally important and is part of the knowledge base of civilization as we know it. This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. To ensure a quality reading experience, this work has been proofread and republished using a format that seamlessly blends the original graphical elements with text in an easy-to-read typeface. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.
This book explores the series of cartoons of China and the Chinese that were published in the popular British satirical magazine Punch over a sixty-year period from 1841 to 1901. Filled with political metaphors and racial stereotypes, these illustrations served as a powerful tool in both reflecting and shaping notions and attitudes towards China at a tumultuous time in Sino-British history. A close reading of both the visual and textual satires in Punch reveals how a section of British society visualised and negotiated with China as well as Britain’s position in the global community. By contextualising Punch’s cartoons within the broader frameworks of British socio-cultural and political discourse, the author engages in a critical enquiry of popular culture and its engagements with race, geopolitical propaganda, and public consciousness. With a wide array of illustrations, this book in the Global Perspectives in Comics Studies series will be an important resource for scholars and researchers of cultural studies, political history and Empire, Chinese studies, popular culture, Victoriana, as well as media studies. It will also be of interest to readers who want to learn more about Punch, its history, and Sino-British relations.
Cartoons have the astonishing power to encapsulate a historical moment or popular mood, and this magnificent new survey tells the story of modern Britain through hundreds of the finest examples. Year by year, from the death of Queen Victoria to the wars in Iraq and Afghanistan, it shows the views taken by the nation's leading cartoonists of the issues and personalities that dominated the news - some of worldwide significance (the outbreak of the Second World War, for example), some of major social and political importance (the rise of the Suffragettes), some reflecting more parochial obsessions (football, bad traffic and the curse of the mobile phone). Occasionally they show a nation united, but more often they reveal where battlelines have been drawn, whether they're cartoons supporting or attacking appeasement, trade unions, the EU or contraception, or seeking to praise or bury Winston Churchill, Margaret Thatcher, Tony Blair or the royal family. A number of the cartoons shown here have achieved iconic status, such as David Low's savage attacks on Hitler and Steve Bell's portrayal of John Major with his pants over his trousers. The majority, however, have not seen the light of day since they were first published, and quite a few are shown here for the first time, having been rejected or censored by contemporary newspapers. Together they offer fascinating, revealing - and often very funny - snapshot views of Britain over the course of a tumultuous century.
A highly original study of newspaper cartoons throughout India's history and culture, and their significance for the world today.
Altick (English, Ohio State U.) systematically explores the first decade of the popular Victorian periodical, especially as it mirrored the interests and world view of its predominantly middle-class readership. He shows how the editorial and pictoral contents blended numerous streams of popular and middlebrow culture into a distinctive style of humor projected against historical evidence from the London Times and other contemporary documents. Annotation copyrighted by Book News, Inc., Portland, OR
This book deals with Punches and Punch-like magazines in 19th and 20th century Asia, covering an area from Egypt and the Ottoman Empire in the West via British India up to China and Japan in the East. It traces an alternative and largely unacknowledged side of the history of this popular British periodical, and simultaneously casts a wide-reaching comparative glance on the genesis of satirical journalism in various Asian countries. Demonstrating the spread of both textual and visual satire, it is an apt demonstration of the transcultural trajectory of a format intimately linked to media-bound public spheres evolving in the period concerned.