, particularly as travel through the Panama Canal boosted Pacific traffic on routes to Europe. Contemporary writing in magazines reflected this outward gaze, yet literary histories of the interwar period have elided this narrative, preferring instead a history of
Mobility and the Geographical Imaginaries of Interwar Australian Magazines
Victoria Kuttainen and Susann Liebich
Australian Interwar Magazines and Middlebrow Orientalism in the Pacific
Victoria Kuttainen and Sarah Galletly
while simultaneously entrenching fantasies of racial threat and exoticism, as well as developing new modes of consumption and leisure in Australia’s emerging pleasure periphery. In this article we explore two of Australia’s culture and leisure magazines
, Germany and Spain their annual Comic Conventions and Festivals and magazines. So far Britain has lagged behind the rest of the world in the appreciation and promotion of the strip cartoon, although we produced the first comic in the world in 1874. 2 Though
A Battle That Raged during the Spanish Transition
In mid-1970s Spain, many new satirical magazines featured a strong political stance opposing Francisco Franco’s regime and in favour of democracy. Magazines with a significant amount of comics-based content constituted a space for political and social critics, as humour allowed them to go further than other media. However, legal authorities tried to censor and punish them. This article analyses the relationship between the Spanish satirical press and censorship and focuses on the difficulties their publishers and authors encountered in expressing their criticism of the country’s social changes. Various cartoonists have been interviewed, and archival research carried out. In-depth analysis of the magazines’ contents is used to gain an overview of a political and social period in recent Spanish history, in which the satirical press uniquely tackled several issues.
Jennifer Rebecca Kelly and Stacy Rule
Full-length feature articles in eight popular American hunting magazines were assessed to better understand hunter-prey relationships as depicted in contemporary hunting discourse. Our findings suggest hunters regard prey using two contradictory paradigms-Love and Kill. In the Love category, we find respect for life, admiration for nature and animals, and a sense of kinship between hunter and prey. In contrast, writings consistent with the Kill theme focus on conquest, objectification, hunter physiological responses, and violence. Of the 23 articles reviewed, 61 percent of the sample had multiple representations of Love and Kill in the same article, revealing a multilayered discourse. Many scholars have written about Love and Kill as separate constructs in hunting, suggesting they are mutually exclusive. Our empirical study counters this claim, finding instead that individual hunters often view their prey through a mixed lens that includes both Love and Kill.
In this article I propose to elucidate the pioneering role played by the publishing house Fayard at the beginning of the twentieth century in the promotion of French comic strip and in the development of its distinctively national characteristics. I firstly review the chronology of events and publications, situating the picture stories in the wider context of the company's output, and considering their function as part of its marketing strategy. I then go on to discuss Fayard's innovations in relation to the choice of publishing formats, which cemented the link between comic strip and mass-circulation weekly newspapers, and defined it for almost three-quarters of a century as a popular genre aimed mainly, if not exclusively, at young readers. Finally, I will analyse the major formal, graphic and thematic features of the comic strips created in these magazines.
The Great War in the EC Comics
The U.S. publisher EC Comics produced several war comics between 1950 and 1955. These comic books, especially the issues published during Harvey Kurtzman's editorship, are still considered masterpieces, as rare examples of war comics attempting to present an unvarnished account of the ordeals of war. This article focuses on the treatment of the Great War in comics. While current stories about the First World War usually underline its inhuman realities for the soldiers, the EC stories offered a more ambivalent representation. The now traditional stories of trenches and suffering infantry soldiers were counterbalanced by stories of heroic air fights and chivalrous aces. This approach towards the First World War as a 'noble war' progressively increased during the run of these comics, refl ecting the shifting balance that characterised the production of EC war comics: that between the constraints of the market, artistic ambition and the popular cultural mythology of air aces.
The forms taken up by French comics in the Offenstadt brothers' wartime weeklies echo other representations of the Great War produced behind the front lines, including the music hall, popular imagery and illustrated newspapers. The Offenstadt brothers' picture stories, which staged comic operas starring soldiers and conformed to French propaganda instructions, were a hit with soldiers and civilians (including children), aside from some offended Catholic critics. This essay contextualises their success, focusing on the reception of the comics, particularly those by Louis Forton.
Australian and Canadian Visions of Women, Modernity, and Mobility between the Wars
lacuna in the canonical literature of these two nations. Magazines regularly featured travel-related advertising and fiction, and thus offer a natural starting point to look for uncollected stories of this space. In “Trafficking Literature: Travel
Sternberg Centre for Judaism. The Director, Rabbi Tony Bayfield, began a new magazine, appropriately called Manna , to which Lionel Blue regularly contributed ‘Inklings’. 2 Literally ‘who has kept us alive’, part of a blessing to be recited when