Everand Logo

Welcome to Everand!

  • Discover millions of ebooks, audiobooks, and so much more with a free trial

    Only $11.99/month after trial. Cancel anytime.

    Comic empires: Imperialism in cartoons, caricature, and satirical art
    Comic empires: Imperialism in cartoons, caricature, and satirical art
    Comic empires: Imperialism in cartoons, caricature, and satirical art
    Ebook698 pages8 hours

    Comic empires: Imperialism in cartoons, caricature, and satirical art

    By Manchester University Press

    ()

    Read preview

    About this ebook

    Comic empires is a unique collection of new research exploring the relationship between imperialism and political cartoons, caricature, and satirical art. Edited by leading scholars across both fields (and with contributions from contexts as diverse as Egypt, Australia, the United States, and China, as well as Europe) the volume provides new perspectives on well-known events, and illuminates little-known players in the ‘great game’ of empire in modern times. Some of the finest comic art of the period is deployed as evidence, and examined seriously, in its own right, for the first time. Accessible to students of history at all levels, Comic empires is a major addition to the world-leading ‘Studies in Imperialism’ series, as well as standing alone as an innovative and significant contribution to the ever-growing international field of comics studies.
    LanguageEnglish
    PublisherManchester University Press
    Release dateNov 4, 2019
    ISBN9781526142962
    Comic empires: Imperialism in cartoons, caricature, and satirical art

    Related to Comic empires

    Titles in the series (94)

    View More
    View More

    Related ebooks

    Comics & Graphic Novels For You

    View More
    View More

    Related podcast episodes

    Related articles

    • Article

      Some Of The Most Interesting Windrush Passengers Were Indo-Caribbean – Yet Their Stories Remain Untold

      Jun 23, 2021

      When Lynda Mahabir won her immigration case in court last month, it was a victory for all Windrush campaigners. However, it also drew attention to a less visible group, the Indo-Caribbean members of the Windrush generation. The UK census has no class

      4 min read

    • Article

      Latin Lovers

      Jan 25, 2021

      Latin teachers in New Zealand are a bit like tuatara. They both go way back to ancient times and they are threatened by extinction. The threat — at least in the case of Latin teachers — is entirely manmade. In December, the Ministry of Education deci

      3 min read

    • Article

      Exit West

      Dec 25, 2017

      Exit West
      15 min read

    • Article

      Why Is A South Korean Fringe Group Backing Japan's Position On WWII 'Comfort Women'?

      Jun 25, 2022

      They have been accused of being traitors, found guilty of defamation by courts, threatened online countless times and even assaulted in the street, but a group of South Korean activists and academics refuse to give in to the mainstream belief in thei

      5 min read

    • Article

      Buffalo Soldiers

      Dec 4, 2020

      Buffalo Soldiers
      5 min read

    • Article

      Phryne c371-316 BC

      Feb 15, 2024

      Phryne c371-316 BC
      2 min read

    • Article

      John Akomfrah, On the Verge

      Dec 19, 2018

      John Akomfrah, On the Verge
      9 min read

    • Article

      Red Poets’ Society

      Feb 11, 2022

      Red Poets’ Society
      13 min read

    • Article

      Dreams Deferred

      Jan 16, 2022

      Dreams Deferred
      19 min read

    • Article

      Remade In Haiti

      Sep 14, 2023

      Remade In Haiti
      6 min read

    • Article

      Frida Escobedo

      Mar 10, 2020

      Frida Escobedo
      9 min read

    • Article

      Bringing Back Tiger

      May 6, 2021

      Bringing Back Tiger
      7 min read

    • Article

      TV, FILM & RADIO

      Oct 28, 2021

      TV, FILM & RADIO
      5 min read

    • Article

      Encounters

      May 13, 2021

      Encounters
      5 min read

    • Article

      Letters

      Mar 14, 2024

      I wanted to write in to say how moved I was by Hannah Skoda’s article on the history of breastfeeding (An Act of Love, February). I became a mum myself quite recently, and wasn’t ready for how breastfeeding can feel lonely, frustrating, beautiful and

      4 min read

    • Article

      The Old Un’s Notes

      May 4, 2022

      * With the Platinum Jubilee upon us, it’s time to look forward to the 70th anniversary of the Young Elizabethan, too. Founded in 1948 as Collins Magazine for Boys & Girls, it was renamed the Young Elizabethan to celebrate the Queen’s Coronation. In 1

      6 min read

    • Article

      2021 Book Of The Year

      Nov 25, 2021

      2021 Book Of The Year
      11 min read

    • Article

      Encounters

      Nov 25, 2021

      Encounters
      6 min read

    • Article

      2020 summer reading preview

      Apr 25, 2020

      2020 summer reading preview
      4 min read

    Reviews for Comic empires

    0 ratings

    0 ratings0 reviews

    What did you think?

    Tap to rate

    Review must be at least 10 words

      Book preview

      Comic empires - Manchester University Press

      Figures

      1.1 Linley Sambourne, ‘The Rhodes Colossus’, Punch, 10 December 1892, p. 266.

      1.2 Thomas Theodor Heine, ‘Kolonialmächte’, Simplicissimus, 9 (6), May 1904, p. 55.

      2.1 Linley Sambourne, ‘The Tryst’, Punch, 6 June 1891, p. 266.

      2.2 Linley Sambourne, ‘Wooing the African Venus’, Punch, 22 September 1888, p. 134.

      2.3 Linley Sambourne, ‘Antony and Cleopatra’, Punch, 13 May 1893, p. 218.

      2.4 Linley Sambourne, ‘Hands Off!’, Punch, 9 February 1889, p. 62.

      2.5 Linley Sambourne, ‘The Tug of – Peace’, Punch, 26 April 1899, p. 194.

      2.6 Linley Sambourne, ‘Good-bye Samoa!’, Punch, 15 November 1899, p. 230.

      2.7 Linley Sambourne, ‘The Garden of Sleep’, Punch, 2 May 1891, p. 206.

      2.8 Sir John Tenniel, ‘An Appeal’, Punch, 13 June 1896, p. 283.

      2.9 Linley Sambourne, ‘Mr. Punch's Notes for August’, Punch, 7 September 1889, p. 110.

      2.10 Linley Sambourne, ‘Miss Reid’, photographed 17 July 1901.

      2.11 ‘Zimbabwe kaffir girls’ – archival photograph from collection of Linley Sambourne. ‘Africa Women’ ST/PR/1-1051A/92.

      2.12 ‘Natives of Intuila’ – archival photograph from collection of Linley Sambourne. ‘Samoa’ ST/PR/1-1043/92.

      2.13 Linley Sambourne, photographic study for ‘The Tug of – Peace’, 21 April 1899. ST/PR/2-2070/99.

      2.14 Linley Sambourne, photographic study for ‘The Tug of – Peace’, 21 April 1899. Not numbered.

      3.1 John Leech, ‘The American Rover-General Wot Tried to Steal a Cuba’, Punch, 17, 1850, p. 247.

      3.2 John Leech, ‘Master Jonathan tries to smoke a Cuba, but it doesn't agree with him!!’, Punch, 18, 1850, p. 243.

      3.3 ‘Now, Little Man, I'll See What I Can Do for You’, New York Journal, 20 April 1898.

      3.4 Joseph Keppler, ‘Encouraging the Child’, Puck, 27 February 1901, cover.

      3.5 ‘More Trouble for Uncle’, Minneapolis Journal, 18 November 1902.

      3.6 ‘Spare the Rod and Spoil the Child’, The Charleston News and Courier, 1 January 1960.

      4.1 John S. Pughe, ‘Greedie Johnie’, Puck, 19 February 1896, cover.

      4.2 Wilbur Steele, ‘The Tory is Still Here’, Rocky Mountain News [Denver, CO], 16 June 1895, p. 1.

      4.3 Joseph Keppler, ‘British Benevolence’, Puck, 19 July 1882, cover.

      4.4 Udo Keppler, ‘A Pretty Tough Mouthful to Swallow’, Puck, 11 October 1899, cover.

      4.5 Udo Keppler, ‘A Tempting Opportunity’, Puck, 15 November 1899, cover.

      4.6 Louis Dalrymple, ‘The Bull in the China Shop’, Puck, 9 March 1898, centrefold.

      4.7 John S. Pughe, ‘Business is Business’, Puck, 22 June 1898, centrefold.

      4.8 Udo Keppler, ‘The Two Drummers’, Puck, 12 July 1899, cover.

      4.9 Louis Dalrymple, ‘A Rival Who Has Come to Stay’, Puck, 24 July 1895, centrefold.

      4.10 John S. Pughe, ‘The Greatest Department Store on Earth’, Puck, 29 November 1899, centrefold.

      4.11 Louis Dalrymple, ‘After Many Years’, Puck, 15 June 1898, centrefold.

      4.12 Donaldson Lithograph Co., ‘A Union in the Interest of Humanity’, 1898.

      4.13 F. G. Attwood, ‘Dear Me, it was Not Always Thus!’, Life, 19 May 1898, cover.

      4.14 Louis Dalrymple, ‘United We Stand For Civilization and Peace’, Puck, 8 June 1898, cover.

      4.15 Louis Dalrymple, ‘Wireless Telegraphy’, Puck, 29 November 1899, cover.

      4.16 Victor F. Gillam, ‘It Ought to be a Happy New Year’, Judge, 7 January 1899, cover. Courtesy of the Billy Ireland Cartoon Library & Museum, Ohio State University.

      4.17 Victor F. Gillam, ‘The White Man's Burden (Apologies to Rudyard Kipling)’, Judge, 1 April 1899, pp. 200–201. Courtesy of the Billy Ireland Cartoon Library & Museum, Ohio State University.

      4.18 ‘Uncle Sam's Burden (with apologies to Mr. Kipling)’, c.29 June 1903. Library of Congress Prints and Photographs Division Washington, DC, at: http://hdl.loc.gov/loc.pnp/cph.3b07656, accessed 30 March 2017.

      4.19 Louis Dalrymple, ‘Misery Loves Company’, Puck, 20 March 1901, cover.

      4.20 Udo Keppler, ‘The Duty of Great Nations’, Puck, 15 February 1899, centrefold.

      4.21 Frederick Opper, ‘They Can't Fight’, Puck, 15 January 1896, cover.

      5.1 Thomas Nast, ‘Uncle Sam's Thanksgiving Dinner,’ Harper’s Weekly, 10 November 1869.

      5.2 Thomas Nast, ‘Every Dog (No Distinction of Color) Has His Day’, Harper’s Weekly, 8 February 1879.

      5.3 Thomas Nast, ‘Give the Red Man a Chance’, Harper’s Weekly, 24 September 1881.

      5.4 Thomas Nast, ‘Making White Men Good’, Harper’s Weekly, 6 December 1879.

      5.5 George Frederick Keller, ‘The Three Troublesome Children’, The Wasp, 16 December 1881.

      5.6 Thomas Nast, ‘Religious Liberty Is Guaranteed’, unpublished pen and ink drawing. Library of Congress, at: www.loc.gov/pictures/item/2010717281/, accessed April 2019.

      5.7 Thomas Nast, ‘The Noble Red Man’, Harper’s Weekly, 10 August 1878.

      5.8 Thomas Nast, ‘After Mother Country's Scalp’, Harper’s Weekly, 17 July 1886.

      6.1 Nianhua ‘Jiaominbang 教民榜 [Education Board].’ woodblock print, c.1661–1772, in: Wang Shucun 王樹村, Zhongguo nianhua shi 中國年畫史 [History of Chinese New Year Pictures], Beijing: Beijing gongyi meishu chubanshe, 2002, p. 114.

      6.2 Map with illustrations of various nations, text in Japanese, Chinese, and English. Tokyo: Hakugakan, 1914–1918. Lithography, 21 × 15 inches. Hoover Institution Library and Archives, Stanford University.

      6.3 James See 謝纘泰 (attrib.), ‘Shijutu 時局圖 [Picture of the Current Situation]’, first published in furen wenshe shekan 輔仁文社社刊, July 1898. Hong Kong Education City Archive.

      6.4 Nianhua ‘Zhong Kui’, woodblock print, 13 × 17 in. Yangliuqing. Author's Collection.

      6.5 ‘There will be persistent big chaos if the red demon does not die’, text in Chinese, poster – lithography, 40 × 30 in. c.1937–1940. Hoover Institution Library and Archives, Stanford University.

      6.6 ‘Sima Guang Breaking the Vet’, in Jiang Weijie 蔣維介 et. al. (eds), Zuixin chudeng xiaoxue jiaokeshu 新初等小學國文教科書 [The Newest Edition of Chinese Literature Textbook for Elementary School], Vol. 2, Shanghai: The Commercial Press, October 1910, p. 11.

      6.7 ‘China and Japan Are Like Brothers that Build East Asian Peace Together’, text in Chinese, poster – lithography, 31 × 21 in., c.1938–1939. Hoover Institution Libraries and Archives, Stanford University.

      6.8 ‘People Make Efforts to Build a New Paradise’, text in Chinese, poster– lithography, 31 × 21 in., c.1938–1939. Hoover Institution Libraries and Archives, Stanford University.

      6.9 ‘Excellent Youth, Join the Air Force’, text in Chinese, poster – lithography, 31 × 21 in., c.1938–1942. Hoover Institution Libraries and Archives, Stanford University.

      6.10 ‘The More I Fight, the Stronger I Become’, text in Chinese, poster – lithography, 17 × 22 in., c.1938–1942. Hoover Institution Libraries and Archives, Stanford University.

      6.11 Wenyuan Zhang, ‘Congratulations on the New Year’, text in Chinese, poster – woodblock print, 17 × 22 in., c.1940.

      7.1 David Low, ‘Progress to Liberty – Amritsar style’, The Star, 16 December 1919.

      7.2 David Low, ‘Housing Problem in India’, Evening Standard, 27 May 1930.

      7.3 David Low, ‘The Determined Martyr’, Evening Standard, 6 May 1930.

      7.4 David Low, ‘By-Election Support for the Churchill Party’, Evening Standard, 1 March 1935.

      7.5 David Low, ‘Alternative’, Evening Standard, 16 March 1942.

      7.6 David Low, ‘A Shroud for Liberty’, Evening Standard, 11 August 1942.

      7.7 David Low, ‘Passing Shadow’, Evening Standard, 8 May 1944.

      7.8 David Low, ‘Unrest in India’, Evening Standard, 26 September 1945.

      7.9 David Low, ‘The Open Road’, Evening Standard, 15 August 1947.

      7.10 David Low, ‘Touch of a Vanished Hand’, Evening Standard, 3 February 1948.

      8.1 Iskandar Sarukhan (?), ‘With our Blood, and through our Arms’, Akher Sa’a al-Musawwara, 129, 27 December 1936, p. 9.

      8.2 Iskandar Sarukhan, ‘Contradicting News Regarding the Negotiations Last Week, and Their Effects on One of the Readers’, Ruz al-Yusuf, 5, 13 May 1930, p. 9.

      8.3 (Unknown cartoonist), ‘Egypt in Fifty Years’, Ruz al-Yusuf, 289, 29 October 1934, p. 7.

      8.4 Ihab Khouloussy, ‘The Leaders of the Nation – Great Win for the Egyptian Cause’, al-Lataʾif al-Musawwara, 257, 12 January 1920, p. 1.

      8.5 Iskandar Sarukhan, ‘The Policy of Distress is what Taught Us’, Akher Sa’a al-Musawwara, 78, 5 January 1936, p. 7.

      8.6 Iskandar Sarukhan (?), Untitled cartoon, Ruz al-Yusuf, 217, 11 April 1932, p. 1.

      9.1 Leslie Illingworth, ‘Mark Antony Eden: I am dying, Egypt, dying’, Punch, 21 March 1956, p. 327.

      9.2 Bernard Partridge, ‘To All Whom it Concerns’, Punch, 3 December 1924, p. 631.

      9.3 Pol Ferjac, ‘Le Triomphe de Nasser’, Le Canard enchaîné, 25 June 1956, cover.

      9.4 Zahdi al-ʾAduwi, ‘The mortar that will build the High Dam’, Ruz al-Yusuf, 30 July 1956, p. 3.

      9.5 John Tenniel, ‘Mosé in Egitto!!!’, Punch, 11 December 1875, p. 245.

      9.6 Leslie Illingworth, ‘Mosé in Egitto!!!’, Punch, 25 February 1953.

      9.7 Pol Ferjac, Untitled, Le Canard enchaîné, 8 August 1956.

      9.8 Leslie Illingworth, ‘The Burghers of Suez by Gamal Nasser after Rodin’, Punch, 5 September 1956.

      9.9 Salah Jaheen, Untitled, Ruz al-Yusuf, 5 November 1956, cover.

      9.10 Zahdi al-ʾAduwi, ‘I thought I was bigger than that …’, Ruz al-Yusuf, 5 November 1956, p. 4.

      9.11 Pol Ferjac, ‘La Bataille des Pyramides’, Le Canard enchaîné, 7 November 1956.

      9.12 Zahdi al-ʾAduwi, Retreat, Ruz al-Yusuf, 19 November 1956.

      9.13 Zahdi al-ʾAduwi, Untitled, Ruz al-Yusuf, 24 December 1956.

      9.14 Salah Jahin, Untitled, Ruz al-Yusuf, 7 January 1957.

      9.15 Pol Ferjac, ‘Le Bourgeois de Calais (version 1956)’, Le Canard enchaîné, 28 November 1956.

      9.16 Salah Jahin, ‘The Masses destroy the De Lesseps Statue’, Ruz al-Yusuf, 24 December 1956.

      9.17 Pol Ferjac, ‘Dans La Cage’, Le Canard enchaîné, 10 April 1957.

      9.18 Leslie Illingworth, ‘Britannia in Decline’, Punch, 9 January 1957.

      10.1 Michael Cummings, ‘Mr Griffiths’, Punch, 14 December 1955, p. 712.

      10.2 Mervyn Wilson, ‘The Grivas Diaries’, Punch, 12 September 1956, p. 294.

      10.3 Norman Mansbridge, ‘Next Round in Cyprus’, Punch, 25 June 1958, p. 829.

      10.4 Norman Mansbridge, ‘And Passed By on the Other Side’, Punch, 16 July 1958, p. 67.

      10.5 Ronald Searle, ‘Summit’, Punch, 30 July 1958, p. 131.

      10.6 Norman Mansbridge, ‘Hello, what's this?’ Punch, 25 February 1959, p. 275.

      11.1 Sir John Tenniel, ‘An Old Offender’, Punch, 15 December 1894, p. 283.

      11.2 Sir John Tenniel, ‘Disturbed!’, Punch, 9 March 1895, p. 115.

      11.3 Sir John Tenniel, ‘Deeds – Not Words!’, Punch, 15 June 1895, p. 283.

      11.4 Sir John Tenniel, ‘Rescue!’, Punch, 26 October 1895, p. 199.

      11.5 Sir John Tenniel, ‘Armenia's Appeal’, Punch, 21 December 1895, p. 295.

      11.6 Linley Sambourne, ‘Nurse Bruin’, Punch, 29 February 1896, p. 98.

      11.7 Sir John Tenniel, ‘The Man for the Job!’, Punch, 12 September 1896, p. 127.

      11.8 E. T. Reed, ‘Design for Proposed Statue to be Erected in Constantinople. (Subscription Invited)’, Punch, 26 September 1896, p. 146.

      11.9 Sir John Tenniel, ‘A Strong Appeal’, Punch, 26 September 1896, p. 151.

      11.10 Sir John Tenniel, ‘Waiting the Signal’, Punch, 17 October 1896, p. 187.

      12.1 Unknown artist, Der Wahre Jacob, 1, 1884, cover.

      12.2 Rata Langa (Galantara), ‘Internationale Revue.’, including ‘John Bulls Sabbathfeier’, Der Wahre Jacob, 365, 17 July 1900, p. 3288.

      12.3 Erich Schilling, ‘Die Firma Krupp und die Kornwalzen’, Der Wahre Jacob, 707, 23 August 1913, p. 8035.

      12.4 Willy Steinert, ‘Der kleine Katechismus des Soldaten’, Der Wahre Jacob, 711, 18 October 1913, p. 8099.

      12.5 Unknown cartoonist, ‘Der Friedensengel des Imperialismus’, Der Wahre Jacob, 546, 25 June 1907, p. 5440.

      12.6 Rata Langa, ‘Aus Deutschlands Zukunft’, Der Wahre Jacob, 364, 3 July 1900, p. 3277.

      12.7 Rata Langa, details from ‘Negerfrisur am Kongo’, Der Wahre Jacob, 365, 17 July 1900, p. 3288.

      12.8 Hans Gabriel Jentzsch, ‘Das europäische Gleichgewicht’, Der Wahre Jacob, 663, 2 December 1911, p. 7321.

      12.9 Hans Gabriel Jentzsch, ‘Mai-Feier’, Der Wahre Jacob, 385, 23 April 1901, p. 3485.

      12.10 Arthur Krüger, ‘Der Militarismus auf der Anklagebank. Aus dem Prozeß Rosa Luxemburg’, Der Wahre Jacob, 731, 25 July 1914, p. 8417.

      12.11 Unknown cartoonist, ‘Nun, kinder, drauf los! Zekt hilft nur noch das Dreschen’, Der Wahre Jacob, 733, 28 August 1914, p. 8441.

      13.1 Leslie Gilbert Illingworth, Untitled, Daily Mail, 27 August 1945. ILW0967, British Cartoon Archive, University of Kent.

      13.2 Leslie Gilbert Illingworth, Untitled, Daily Mail, 23 June 1947. ILW1266, British Cartoon Archive, University of Kent.

      13.3 NEB [Ronald Niebour], Untitled, Daily Mail, 29 October 1948. NEB0629, British Cartoon Archive, University of Kent.

      13.4 Joseph Lee, ‘Terrifying Days’, Evening News, 20 July 1949. JL4121, British Cartoon Archive, University of Kent.

      13.5 Michael Cummings, Untitled, Daily Express, 12 December 1949. CU0057, British Cartoon Archive, University of Kent.

      13.6 Michael Cummings, Untitled, Daily Express, 17 February 1950.

      13.7 David Low, ‘One Thing Leads to Another’, Evening Standard, 18 June 1947. DL2730, British Cartoon Archive, University of Kent.

      13.8 Philip Zec, Untitled, Daily Mirror, 21 September 1945, p. 2.

      13.9 David Low, ‘Heads in the Sand’, Evening Standard, 10 May 1946. DL2571. British Cartoon Archive, University of Kent.

      13.10 Philip Zec, ‘All Empire Roads Lead Home’, Daily Mirror, 5 September 1945, p. 2.

      13.11 Joseph Lee, ‘London Laughs: Nut Collection for Britain’, Evening News, 26 March 1946. JL3282, British Cartoon Archive, University of Kent.

      13.12 David Low, ‘And now what about trying to grow some nuts?’, Evening Standard, 3 November 1949. DL3082, British Cartoon Archive, University of Kent.

      13.13 David Low, ‘Old Low's Almanack – Prophecies for 1950’, Evening Standard, 9 December 1949. DL3097, British Cartoon Archive, University of Kent.

      13.14 Joseph Lee, ‘London Laughs: Topical Gags like Groundnuts’, Evening News, 8 November 1949. JL4211, British Cartoon Archive, University of Kent.

      13.15 NEB [Ronald Niebour], Untitled, Daily Mail, 1 March 1951. NEB0802, British Cartoon Archive, University of Kent.

      13.16 Leslie Illingworth, Untitled, Daily Mail, 21 November 1949. ILW1690, British Cartoon Archive, University of Kent.

      13.17 Ronald Niebour, Untitled, Daily Mail, 22 December 1949. NEB0696, British Cartoon Archive, University of Kent.

      14.1 Phil May, ‘The Mongolian Octopus – His Grip on Australia’, The Bulletin, 21 August 1886, pp. 12–13.

      14.2 Norman Lindsay, ‘Nearer, Clearer, Deadlier …’, The Bulletin, 7 June 1950, p. 5.

      14.3 William McLeod, ‘The Germans and British in New Guinea’, The Bulletin, 10 January 1885 [reprinted 17 May 1964, The Bulletin, p. 10].

      14.4 Ted Scorfield, ‘Going my way – on a full petrol-tank?’, The Bulletin, 30 November 1949, p. 5.

      14.5 Ted Scorfield, ‘The More It Changes the More He Remains the Same’, The Bulletin, 23 April 1952, p. 5.

      14.6 Les Tanner, ‘The White Man's Burden’, The Bulletin, 5 August 1961, p. 7.

      14.7 Les Tanner, ‘The Americans have a better prose style’, The Bulletin, 12 August 1961, p. 7.

      14.8 Les Tanner, ‘It's difficult to approve of you Asians …’, The Bulletin, 30 September 1961, p. 7.

      14.9 Les Tanner, ‘Colonists and Imperialists …’, The Bulletin, 2 February 1963, pp. 4–5.

      14.10 Les Tanner, ‘That's Carmichael our commitment to Malaysia …’, The Bulletin, 14 November 1964, p. 12.

      14.11 Les Tanner, ‘Sheer McCarthyism …’, The Bulletin, 31 July 1965, p. 12.

      14.12 Bruce Petty, ‘President Sukharno …’, An Australian Artist in South East Asia; Introduction by Ronald Searle, Melbourne: Grayflower Publications, 1962, p. 86.

      14.13 Bruce Petty, ‘4 Viet Cong prisoners …’, An Australian Artist in South East Asia; Introduction by Ronald Searle, Melbourne: Grayflower Publications, 1962, p. 89.

      14.14 Bruce Petty, ‘Political Influences Problems’, An Australian Artist in South East Asia; Introduction by Ronald Searle, Melbourne: Grayflower Publications, 1962, p. 80.

      14.15 Bruce Petty, ‘Petty's Comment’, The Australian, 17 July 1964, p. 6.

      14.16 Bruce Petty, ‘Petty's Comment’, The Australian, 22 July 1964, p. 8.

      14.17 Bruce Petty, ‘Food for Thought’, The Australian, 3 September 1964, p. 10.

      14.18 Bruce Petty, ‘International Affairs’, The Australian, 7 May 1966, p. 6.

      Contributors

      Dr Robert Dingley was, until his retirement, Senior Lecturer in English at the University of New England, NSW. He has edited George Augustus Sala's The Land of the Golden Fleece (1995) and (with Alan Sandison) Histories of the Future: Studies in Fact, Fantasy and Science Fiction (2000). He has published extensively on nineteenth-century British and Australian culture in Victorian Review, Nineteenth-Century Feminisms, Victorian Literature and Culture, Cahiers Victoriens et Edouardiens, Australian Literary Studies, and elsewhere. His most recent publications have been on George Eliot's politics for George Eliot in Context (edited by Margaret Harris (Cambridge University Press, 2013); on the early history of English Studies for a special issue of Modern Language Quarterly (2014); and on the representation of Australia in nineteenth-century writing for The Encyclopedia of Victorian Literature (Blackwell, 2015).

      Professor Jean-Claude Gardes is a member of the Department of German at the University of Western Brittany (Brest, France). Since graduating with a doctorate from the University of Paris XIII (1981) – and particularly as co-convenor of EIRIS (Équipe interdisciplinaire de recherche sur l’image Satirique) – he has published widely on the history and theory of the political cartoon and satirical image. Gardes regularly edits the team's annual scholarly journal – Ridiculosa – and convenes the Paris-based conference. With Angelika Schober, he co-edited Ridiculosa's 2013 special issue La presse satirique dans le monde, a collection of 20 essays examining the satirical presses of various national and transnational contexts.

      Dr Fiona Halloran is the author of Thomas Nast: The Father of Modern Political Cartoons (University of North Carolina Press, 2013) and a contributor to Drawing the Line: Using Cartoons as Historical Evidence (Monash University ePress, 2009). She holds a PhD in history from the University of California, Los Angeles, and has been a research fellow at the Huntington Library and the Rothermere American Institute at the University of Oxford. Previously a Visiting Assistant Professor of History at Bates College, and an Assistant Professor of History at Eastern Kentucky University, Halloran currently teaches American history at Rowland Hall-St Mark's School in Salt Lake City.

      David Lockwood is a specialist in the modern history and politics of India as well Soviet history. He is especially interested in the role of the bourgeoisie in historical development. He combines this with work in the broad areas of the role of the state in economic development; the transition from state-controlled to market economies; and the effects of globalisation on nation-states. Until his retirement, David was an Associate Professor of History at the Flinders University (serving as a long-time head of the department), and is now an adjunct at the University of Adelaide. His most recent book is Calcutta under Fire: The Second World War Years (2019).

      Dr David Olds completed his PhD at the Flinders University of South Australia in 2016, exploring the history and development of the Nation Review (1970–1981).

      Professor Robert Phiddian – BA (Hons) and PhD (University of Melbourne) – teaches Renaissance and eighteenth-century literature at the Flinders University of South Australia, and has a special interest in political satire, parody, and humour. He researches political satire, especially current Australian political cartoons with Haydon Manning (with whom he edited the 2008 collection Comic Commentators: Contemporary Political Cartooning in Australia). Robert was Deputy Dean of the School of Humanities and Creative Arts, Chair of the Adelaide Festival of Ideas, Director of the Australasian Consortium of Humanities Research Centres, and has a particular interest in the quality of public language and in writers’ festivals.

      Albert D. Pionke is Professor of English at the University of Alabama. He is author of Plots of Opportunity: Representing Conspiracy in Victorian England (Ohio State University Press, 2004) and The Ritual Culture of Victorian Professionals: Competing for Ceremonial Status, 1838–1877 (Ashgate, 2013); co-editor of Victorian Secrecy: Economies of Knowledge and Concealment (Ashgate, 2010), and Thomas Carlyle and the Idea of Influence (Fairleigh Dickinson University Press, 2018); and principal investigator of Mill Marginalia Online (millmarginalia.org).

      Casey Raeside is a PhD candidate at Flinders University. His thesis looks at the development of humanitarian views in Britain in relation to three nineteenth-century case studies: the Indian ‘Mutiny’, the Jamaican ‘rebellion’ (Morant Bay), and the Bulgarian ‘Horrors’.

      Dr Charlotte Lydia Riley is a Lecturer in Twentieth-century British History at the University of Southampton. She completed her PhD, which explored the Attlee government's approach to colonial development programmes in British Africa, at UCL in 2013. Her work explores British political culture, especially the history of the Labour Party, British overseas aid and development programmes, and decolonisation. She is also interested more broadly in cultural and social responses to British politics, the way that British people experienced the end of empire, and wider issues around the history of British identity, especially issues around gender politics and the British state.

      Leslie Rogne Schumacher, PhD, FRSA is the David H. Burton Fellow and Visiting Assistant Professor of History at Saint Joseph's University. His research is on the Eastern Question and its associated issues, particularly the British–Ottoman relationship, imperialism in the Near and Middle East, and the growth of nationalism in nineteenth-century Mediterranean societies. He is currently working on a project that rethinks the east–west relationship by means of examining modern Mediterranean sociocultural, political, and economic networks. Dr Schumacher sits on the Board of Directors of Britain & the World, the Editorial Board of the Marmara Journal of European Studies, and has been elected a Fellow of the Royal Society of Arts.

      Dr Richard Scully obtained his BA (Hons) from Monash University (2003), and also his PhD (2008). He is the author of Eminent Victorian Cartoonists (The Political Cartoon Society, 2018) and British Images of Germany: Admiration, Antagonism, and Ambivalence, 1860–1914 (Palgrave Macmillan, Britain and the World series, 2012). He co-edited Drawing the Line: Using Cartoons as Historical Evidence (Monash University ePress, 2009) with Marian Quartly. His chief research interest – the history of political cartoons, satirical art, and caricature – has found an outlet in numerous articles, including in the Journal of Victorian Culture (2011), Victorian Periodicals Review (2011, 2013), German Studies Review (2012), the International Journal of Comic Art (2011, 2012, 2013), and Ridiculosa (2013). He has also published on the history of Anglo-German relations, and in particular on the relationship between British and German cartographers in the later nineteenth century (Imago Mundi, 2010). Richard was Assistant Lecturer at Monash University (2008), before being appointed Lecturer in Modern European History at the University of New England, Armidale, NSW (2009), where he is now Associate Professor. Richard was the recipient of a Discovery Early Career Researcher Award, courtesy of the Australian Research Council (a three-year fellowship examining the global history of the political cartoon).

      Shaoqian Zhang is an Associate Professor of Art History, specialising in East Asian art and architecture at Oklahoma State University. She received her BA in traditional Chinese architecture from Beijing University, and her MA and PhD in art history from Northwestern University. Shaoqian Zhang received the 2017 Oklahoma State University College of Arts and Sciences Junior Faculty Award for Scholarly Excellence. With the primary focus on early twentieth-century Chinese art and architecture, Zhang also has published a number of articles that reflect her interests in print culture, political history, party-state, medium specificity and spectatorship in China's modern period – appearing in journals such as Modern Art Asia, Transcultural Studies, Twentieth Century China, and Art in Print. Taking an interdisciplinary approach, her other interests include the relationship between architectural representation and different religious forces in East Asia; body politics in visual presentation in modern China; and contemporary Chinese art by female artists, resulting in publications in journals such as Dao: A Journal of Comparative Philosophy, Architext, and others.

      Stephen Tuffnell is Associate Professor of Modern US History at the University of Oxford and Fellow in History at St Peter's College. He is currently completing his first monograph – Emigrant Foreign Relations: Independence and Interdependence in the Atlantic, 1790–1902 – and is working on a second project that examines the United States’ transimperial entanglement with Britain's African colonies between 1867 and 1937. He is the editor, with Benjamin Mountford, of A Global History of Gold Rushes (California University Press, 2018). His work has appeared in Diplomatic History, the Journal of Global History, and Britain and the World.

      Andrekos Varnava obtained a BA (Hons) from Monash University (2001) and his PhD from the University of Melbourne (2006), and is currently Associate Professor in Imperial and Military History at Flinders University. He is the author of British Imperialism in Cyprus, 1878–1915: The Inconsequential Possession (Manchester University Press, 2009; paperback 2012); and co-editor of Reunifying Cyprus: The Annan Plan and Beyond (I. B. Tauris, 2009; paperback 2011); The Minorities of Cyprus: Development Patterns and the Identity of the Internal-Exclusion (Cambridge Scholars Publishing, 2009); and The Archbishops of Cyprus in the Modern Age: The Changing Role of the Archbishop-Ethnarch, their Identities and Politics (Cambridge Scholars Publishing, 2013). He has published and has forthcoming articles in Byzantine and Modern Greek Studies (2005), The Cyprus Review (2005 and 2x 2010), Journal of Military History (2010), War in History (2012 and 2015), Historical Research (2014), Itenerario (2014), and The Historical Journal (2015). In 2011 he became the series editor of Cyprus Historical and Contemporary Studies for Cambridge Scholars Publishing.

      Frederick Whiting is Director of the Blount Scholars Program and Associate Professor of English at the University of Alabama. He has published articles on sexuality, subjectivity, and American literature, and is currently at work on a book that examines twentieth-century transformations in concepts of human and novelistic form under the sign of pathology.

      Stefanie Wichhart obtained her PhD from the University of Texas at Austin (2007) and is currently an Associate Professor of History at Niagara University, a small liberal-arts college in western New York. Her main area of research is the British Empire in the Middle East. She has published articles on Iraq during the Second World War in The Journal of Contemporary History (2013) and The Journal of Imperial and Commonwealth History (2011), and contributed a chapter on political cartoons in Iraq to the edited collection Drawing the Line: Using Cartoons as Historical Evidence (Monash University ePress, 2009). She is currently working on a book entitled The Shadow of Power: Britain, Egypt, and Iraq during the Second World War.

      Keren Zdafee is an Islamic art historian and an educator. She is currently teaching in the Department of Art History at the Tel Aviv University, and in the Art Teaching Track at Talpiot College, Hulon. She received a PhD in Islamic art history from the Tel Aviv University in 2016. Her PhD dissertation – ‘Printed Visual Culture in Egypt: The Caricature in the Interwar Egyptian Press (1916–1936)’ – examined aspects of cultural transfer and cosmopolitanism in the visual satirical imagery from interwar Egypt in the context of the country's struggle for independence from the British conqueror. She is currently at work on a book, Cartooning for Egypt, which will explore the ways in which the insider-as-outsider gaze of Egyptian cosmopolitan artists and entrepreneurs shaped satirical imagery and the platforms on which it was distributed.

      Acknowledgements

      Foundational to this project has been the funding and support provided to Richard Scully by the Australian Research Council and Australian government, as part of the Discovery Early Career Researcher Award (2013–2015) ‘The cartoon empire: The Anglo-American tradition of political Satire and Comic Art, 1720–2020’. Thanks also to the Australian Academy of the Humanities for their support of this publication.

      At Manchester University Press, particular thanks are due to: Emma Brennan, Paul Clarke, John M. MacKenzie (Founding Editor, ‘Studies in Imperialism’), and Andrew Thompson. Thanks also to the anonymous reviewers of the proposal and the manuscript.

      Colleagues at the editors’ home institutions – the University of New England (UNE) and the Flinders University of South Australia – have provided tremendous support over the course of the project. At UNE, particular thanks are owing to Lloyd Weeks; as well as Gina Butler, Heiko Daniel, Kath Dougall, Claire Girvin, Libby Magann, Sharon Marshall, Melissa Pearce, Shirley Rickard, Meg Travers, Fiona Utley, and Trish Wright. At Flinders, thanks to the document delivery team and administration staff in the School of History and International Relations. Thanks also to the organisers of the 21st Australasian Humour Studies Network Conference 2015, Flinders University, Adelaide (4–6 February 2015) where Andrekos Varnava and Casey Raeside presented their chapter as a paper.

      Thanks are also due to those other scholars who have connected with the project, and helped drive it in key directions, including: Timothy S. Benson (Political Cartoon Society, London), Mark Bryant (independent scholar), Jane Chapman (University of Lincoln), Fintan Cullen (University of Nottingham), Jules Faber (President, Australian Cartoonists Association), Richard A. Gaunt (University of Nottingham), Hans Harder (Heidelberg University), Reto Hoffman (University of Melbourne), Chris Holdridge (Monash University), Funie Hsu (University of California, Berkeley), Alison Hulme (University College, Dublin), Samuel Hyde (Edge Hill University), Ritu Khanduri (University of Texas, Arlington), Ursula E. Koch (independent scholar), László Kurti (University of Miskolc), John A. Lent (Temple University; and Editor-in-Chief, International Journal of Comic Art), Barbara Mittler (Heidelberg University), John R. Moores (University of York), Annick Pellegrin (University of Sydney), Christopher Rea (University of British Columbia), and Margaret A. Rose (University of Cambridge). Particular thanks is also due to those institutions and individuals who granted permission for the use of their intellectual property in this volume. Every effort has been made to trace the rights holders of visual and other material quoted or otherwise included in this book. If any have been inadvertently overlooked, then the publishers and editors will be happy to make appropriate arrangements to remedy the situation.

      Lastly – to our families: Helen, Barnabas, and Maria Varnava, Helena Menih, Patrick and Arthur Scully. We are sustained by your love and support every day. To Natashia Josephine Scully (1981–2016) – you continue to be an inspiration.

      Richard Scully and Andrekos Varnava, 2019

      Chapter One

      Introduction: the importance of cartoons, caricature, and satirical art in imperial contexts

      Richard Scully and Andrekos Varnava

      On the evening of Wednesday, 30 November 1892, the cartoonist Edward Linley Sambourne freshened himself up with a Turkish bath before departing as usual for his regular editorial dinner meeting at Punch.¹ The permanent staff and proprietors of the London Charivari had held such meetings almost since the birth of the magazine in 1841, and around the mahogany table in the upstairs room, all manner of discussions were to be had, and decisions to be made, as to the content of the coming week's issue.² While key staff members were responsible for particular aspects of the magazine, the ebb and flow of conversation around the table meant that much of what appeared in Punch was a collective effort, by a group of men (and they were all men) of differing opinions and personalities. Sambourne – the junior cartoonist in a hierarchy headed by Punch's great master, John Tenniel – was particularly conscious of this culture and, more often than not, had the subject matter of his weekly cut decided for him.

      That evening was no exception, and at some time during the food service or after-dinner drinks, it was suggested that Sambourne take as his subject a recent speech by Cecil Rhodes, given at a reception at the City Terminus Hotel, and reported in a rather tongue-in-cheek fashion in that morning's Times.³ Over the course of the next few days, Sambourne worked hard at his commission, sent his finished version off to be engraved and printed by other hands, and, in the number published for 10 December 1892, there appeared what can only be described as a masterpiece of comic art: ‘The Rhodes Colossus’ (Figure 1.1); as enduring an image of British imperialism as has ever been created by an artist or artists, serious or comic.⁴

      c1-fig-0001.jpg

      Figure 1.1 Linley Sambourne, ‘The Rhodes Colossus’, Punch, 10 December 1892, p. 266.

      The image of Cecil Rhodes in his safari suit, bestriding the African continent from Cape to Cairo, is a fixture of innumerable textbooks, atlases, encyclopaedias, and histories (scholarly and popular).⁵ And yet, very few such works have sought to employ the cartoon as anything other than a useful illustration (often a cover illustration), a visual affirmation of other evidence, or an attractive means of breaking up the dense text of a monograph. This has largely been the fate of cartoons when used (if at all) in historical scholarship; and this despite a long-held regard for cartoons and their creators as makers of history, perhaps best epitomised by Arthur Balfour, in his speech at the retirement dinner of Sir John Tenniel himself.⁶ The work of that ‘great artist and great gentleman’, Balfour asserted, was destined to be among ‘the great sources from which to judge of the trend and character of English thought and life in the latter half of the nineteenth century’.⁷

      Appearing on a weekly basis in magazines like Punch, and its chief rivals of the period – including Fun, Judy, and Moonshine – cartoons were a key means by which British readers encountered and engaged with issues of empire and imperialism. Across the Channel, the immense power of French satirical art also sustained a particular focus on matters imperial (via Le Charivari and its imitators); and in Germany, the cartoonists of Kladderadatsch, Die Fliegende Blätter, and Simplicissimus intervened regularly in the debates over overseas expansion that characterised the period of the ‘New Imperialism’. Indeed, in Thomas Theodor Heine's ‘Kolonialmächte [Colonial Powers]’ from Simplicissimus's special 1904 number on ‘the colonies’ (Figure 1.2), one finds perhaps the only rival to Sambourne's comment on European imperialism in terms of visibility and enduring influence.⁸ So too, in the rising power that was urged to ‘take up the white man's burden’ (and which perhaps survives today as the only imperial power left from the ‘Age of Empire’), the US cartoonists of Puck and Judge (and countless other magazines and newspapers) critiqued foreign imperialism, while also supporting their nation's expansion into ‘the West’, the Pacific, and Asia (as well as hegemony over the Caribbean and Latin America made possible by American economic preponderance).

      c1-fig-0002.jpg

      Figure 1.2 Thomas Theodor Heine, ‘Kolonialmächte’, Simplicissimus, 9 (6), May 1904, p. 55.

      As the ubiquity of cartoons like ‘The Rhodes Colossus’ indicates, Balfour's opinion (despite the context for his speech lending itself to exaggeration and overenthusiasm) has been paid lip service ever since. Kent Worcester noted recently – in his Preface to one of the more ground-breaking works of comics scholarship – that there exists a ‘compelling case for incorporating the study of comics and cartoons into the professional toolkit of the modern historian’.⁹ But regardless of appearances, and notwithstanding their visibility and accessibility, cartoons and caricature have not been accorded a ‘place in the sun’ among the traditional ‘great sources’ for historical inquiry; nor are they a prime choice among the new sources of evidence that have so enriched the cultural turn in the history of imperialism. As such, although there have been some valuable surveys by Roy Douglas and Mark Bryant, the scholarly appreciation for the function of graphic satire in sustaining – as well as challenging – imperialism, is haphazard at best.¹⁰ One can find excellent usage of cartoons in recent works by Bradley Deane, Neil Hultgren, and others, but in the main these are isolated.¹¹ Other visual and material sources – commercial advertising, print capitalism, travel and tourist literature, and other cultural forms (such as film) – have been the basis for a wealth of insightful, dedicated analyses.¹² But it remains the case that cartoons and comic images are still not taken seriously.¹³

      Cartoons are sources that are ‘laden with clues to the social and political dynamics of any given time and culture’; and these clues and dynamics are often more revealing of what the past was ‘really like’ than the written word.¹⁴ In part because of their emotive nature, their relative immediacy, and their many-layered meanings, cartoons are an excellent way of accessing past attitudes: ‘With some lines and a few words, we are instantly back in the midst of the conflicts and personalities of the day.’¹⁵ While some see in their form and content a devastating weapon that can sway public opinion, their true value for the historian lies in the way they reflect the ideas and prejudices of their creators and intended audiences.¹⁶ This extends to far deeper and richer appreciations of historical contexts available if one goes beyond the image, to explore cartoons as material culture; and, as pointed out so ably by Nicholas Hiley, there is an enormous amount to be gained by:

      analysing the complex industries which created these images; the processes by which they were made and printed; the relationship between the cartoonist and the publication for which they worked; the circulation and readership of that publication; and the impact of those cartoons upon readers.¹⁷

      But as Hiley also implied, perhaps the sheer hard work involved in exploring all these rich contexts has actually been an impediment to the proper use of cartoons by historians. More therefore needs to be said about the value of cartoons, to justify their importance as sources (and to justify all that hard, scholarly work). To paraphrase one of the greatest scholars to have worked in this field – Lewis Perry Curtis, Jr – why do cartoons matter?¹⁸

      Cartoons were (and are) not ‘passive reflectors of reality’; nor were they (or are they) ‘passively received by readers’.¹⁹ Rather, they help to crystallise attitudes, and express in pithy and succinct fashion the thinking of a broad segment of society (past as well as present). It is this ability to simplify and essentialise that makes the cartoon so powerful an art form. Most importantly for the study of imperialisms is the way cartoonists have always ‘devoted much time and talent to mocking or laughing at people far beyond their own class and ethnicity – namely, the Other’.²⁰ Comic artists do not create such images anew, but they can give singular form to the multiple, more nebulous conceptions on which they draw for inspiration, and then disseminate those images to mass readerships.

      While it is difficult to observe instances when cartoons have changed the political landscape, impacted voting patterns, or toppled governments, it is possible to point to a historical fear that cartoons might achieve such things. So dangerous did the cartoon seem to the regime of Napoleon III, for instance, that the Emperor of the French inaugurated a censorship apparatus directed specifically at curbing its influence.²¹ Across the Atlantic, the Tammany-Hall politician William M. ‘Boss’ Tweed was so fearful of cartoonist Thomas Nast that he is famously said to have remarked:

      Let's stop them damned pictures. I don't care so much what the papers write about me – my constituents can't read; but damn it, they can see pictures.²²

      Despite resorting to bribery, Tweed failed to halt Nast's caricaturing of him (for example) as a corrupt, Neronian Roman Emperor, taking pleasure in the ravishing of Columbia by the ‘Tammany Tiger’.²³ It is widely accepted by the scholarship that, yes, Nast did play a key role in the demolition of Tweed's personal standing, and helped end his career.²⁴ In so doing (and via his later defence of incumbent Republican, Ulysses S. Grant, against the Democratic challenger, Horace Greeley; and his popularisation of the Democratic donkey and the Republican elephant), Nast helped to elevate the status of the cartoonist to that of an important political actor.²⁵ A recognition of the cartoonist as a serious artist was not to be far behind.

      It was those arch-imperialists – the Victorians – who had first begun to appreciate the importance of cartoons and caricature as art forms and shapers of opinion. The death in 1864 of John Leech – Punch's principal cartoonist since the 1840s – occasioned a significant outpouring of public grief, and a greater appreciation for his amusing little black-and-white sketches of everyday life as constituting real art.²⁶ A long-time admirer of Leech, John Ruskin linked the thriving Punch school of cartooning (epitomised by Leech's successors, Tenniel and George Du Maurier) to the great masters of the past.²⁷ That same British tradition was celebrated by R. W. Buss in 1874, just as the ‘New Imperialism’ was germinating; and by the 1890s, Graham Everitt and Gleeson White had joined Ruskin and Buss in heaping praise on those cartoonists who so skilfully combined the art of graphic humour with more serious book and periodical illustration.²⁸ The recognition of black-and-white art – as such – gathered strength with the sponsorship of M. H. Spielmann, the powerful arbiter of late-Victorian taste, who championed it via his Magazine of Art, and also wrote the first full-scale history of Punch.²⁹

      Where the art world was perhaps a little slow to pick up on the importance of cartoons and cartoonists, the same cannot be said for politicians. Benjamin Disraeli did his best to ingratiate himself with John Leech in the 1840s; while his great rival, W. E. Gladstone, was honoured to accept an invitation to dine at the Punch table in 1889.³⁰ Indeed, it was eventually Gladstone who acted on his Tory predecessors’ recommendation that John Tenniel be granted a knighthood in 1893; and this underscored the importance of cartoonists in national life just as matters imperial reached their apogee.³¹ Knighthoods for his successors as the senior British cartoonists of the day – including Bernard Partridge in 1925 (a staunch imperialist) and David Low in 1962 (a fierce critic of empire) – could follow without occasioning much controversy. Via his wartime study of the British comic art tradition, and his later autobiography, Low did much to cement in place the importance of the cartoon as art form.³²

      If cartoons were appreciated as a form of art just as imperialism reached its high-water mark, then it was as the age of imperialism was ending that the first steps were taken to study comic art for its own sake. Scattered studies and appreciations of the power and importance of comic art had appeared earlier, but the 1960s and 1970s witnessed the beginnings of a scholarly appreciation of the myriad art forms that – in combining text and image in either single-frame, or sequential form – came to constitute the stuff of ‘comics studies’. Arguably, the foundational stage was the completion (by M. Dorothy George) of the British Library's catalogue of prints (an undertaking begun as long ago as 1870).³³ This gave the cartoonist and collector Draper Hill the basis for his ground-breaking study of the eighteenth-century master, James Gillray (which he dedicated to George herself).³⁴ And this in turn attracted the attention of the great Austrian-born art historian E. H. Gombrich, who had recently given academic respectability to the study of cartoons in his essay ‘The Cartoonist's Armory’ of 1963.³⁵ Around the same time, French cultural theorist Roland Barthes was the first serious critic to even acknowledge the existence of the comic strip, when he mused on the function of the text-balloon in ‘The Rhetoric of the Image’ (1964).³⁶ By then, Umberto Eco had also turned his attention to comic art (specifically Superman, and Charles M. Schulz's Peanuts), lending enormous weight to the interrogation of the art forms at a time when American cultural imperialism seemed unstoppable.³⁷

      By the middle of the 1960s, L. H. Streicher was

      Enjoying the preview?
      Page 1 of 1