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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
The English humour magazine Punch, or the London Charivari, which first appeared in 1841, quickly became something of a national institution with a large and multi-layered readership. Though comic in tone, Punch was deeply serious about upholding high literary and artistic standards, about dealing with serious subject-matter, and about attempting to nurture its readers' appreciation of the national drama and of Shakespeare's plays in particular. The author's detailed examination of Punch's constant advocacy of Shakespeare reveals telling new evidence concerning the ubiquitous presence of Shakespeare within Victorian culture. New research in the Punch archives and elsewhere also reveals the identities of many of the Punch authors and artists. The author shows how those who worked for Punch often subsumed their collective identities within the single persona of Mr. Punch, a fictional creation who repeatedly presents himself in both texts and graphics as a close friend and admirer of Shakespeare, a man able to remind Victorian readers constantly of the supreme literary and moral values represented by Shakespeare's works.
A series of exerpts from Punch Magazine articles about World War I. Reprinted in the United States by Frederick Stokes.
"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.
Comic empires is an innovative collection of new scholarly research, exploring the relationship between imperialism and cartoons, caricature, and comic art.