preoccupation and fascination with mobility was reflected in modern print culture. At a moment when print reigned supreme—not yet overtaken by radio or television—an increasing number of books and particularly the new mass, glossy magazines were awash with
Print Culture, Mobility, and The Pacific, 1920–1950
Victoria Kuttainen and Susann Liebich
Print Culture and Visual Satire in Restoration Paris
Restoration-era discourse on the montagnes russes—early roller coasters—reveals how leisure activity could become a lightning rod for perspectives on public space, tensions among social groups, and expressions of patriotism. Eager to profit from the montagnes russes craze, boulevard theaters hosted a number of plays on the subject. Through the buffoonish character M. Calicot, one such comedy—entitled The Battle of the Mountains— caricatured young clothing-trade salesclerks who frequented roller-coaster parks. The play provoked the ire of some of these men, who “waged war” on the Variety Theater, where the play was performed. The conflict in turn sparked satires in print, visual, and other media. These cultural productions both reflected the short-lived mania for roller coasters and shaped attitudes in their own right, all while employing laughter to deal with postwar trauma.
Australian Interwar Magazines and Middlebrow Orientalism in the Pacific
Victoria Kuttainen and Sarah Galletly
the last ocean basin to open for travel while also expanding further into Melanesia and Asia, 1 the Pacific loomed large in the nation’s consciousness and print culture in real and imagined ways. These engagements increased understanding of the region
Mobility and the Geographical Imaginaries of Interwar Australian Magazines
Victoria Kuttainen and Susann Liebich
publications offered their readers, and how they contributed to an Australian print culture that engaged broadly with the world. 5 This article explores notions of mobility, especially across the Pacific, in the broad range of writing and visual print culture
Australian and Canadian Visions of Women, Modernity, and Mobility between the Wars
, Modernity, and the Middle Ground of Canadian and Australian Middlebrow Print Cultures,” Victoria Kuttainen calls for increased critical attention to the “parallel developments in mid-range magazines and middlebrow print cultures in Canada and Australia in
English Satirical Prints in the Presence of the Academy, c. 1750–1780
This article examines the reciprocity between satirical and academic modes of image making, and locates that relationship within the context of an emergent bourgeois public sphere. The cultural and commercial imperatives of that sphere enabled its inhabitants to engage with conflicting modes of cultural output, consuming grotesque and bawdy satire as an exercise in political autonomy, while simultaneously emulating 'elite' politeness. In particular, the commercial growth and increasing visibility of satirical prints challenged the polite hierarchy of art as it was understood by the nascent academies and societies of art established in the same period. This process of establishment needs to be re-framed in the context of satirical intervention, and will be examined via two paintings that provoked distinct satirical responses: Benjamin West's The Death of Wolfe and Francis Hayman's The See-Saw. Correspondingly, satirical print culture itself can be reframed in light of its use (and parody) of academic visual tropes and techniques.
Emotion Concepts in Urdu, 1870—1920
This article looks at the changes in the concepts used to write about emotions in Urdu between 1870 and 1920. It argues that while emotions at the beginning of the period were still thought of as premised upon notions of equilibrium and balance, which accorded a crucial role to the will and to rationality, fifty years later concepts celebrated the elementary power of emotions and their capacity to overwhelm the individual. This can be read as an indicator and factor of a profound emotionalization of private as well as public life. The first section looks at ethical and pedagogical texts, the second at articles published in journals linked to the reformist Mohammedan Anglo-Oriental College at Aligarh, and the final section at the reconfiguration of emotion knowledge through the translation and adaptation of psychological treatises.
This special section on print culture, mobility, and the Pacific takes as its backdrop the new associations of sea travel with pleasure, leisure, and social distinction that gained traction from the 1920s, and that gradually diminished its prior
Australian Middlebrow Writers in the 1940s and the Mobility of Texts
doing so, it sought to shape consumer tastes for mass reading of books in the postwar period and reflected new mobile forms of globalized print culture. 3 Among the ASE titles was Australian Frontier by the Australian writer Ernestine Hill. 4 This
Cham's Heritage and Legacy
This article draws attention to the transition in print culture that took place between the 1830s and the 1850s, allowing for a new flexibility in format and new relations between word and image. Within this wider context, Cham was an innovator who adapted literary techniques such as mise en abyme, oxymoron and synecdoche to visual storytelling. The article focuses on links between Cham's work and Tristram Shandy: I show how Cham introduces Sterne's reflexivity into his comic strips, using unorthodox framing and inserting blind panels as a deliberate interference in transmission, impeding the reader's privileged point of view. Cham deploys a number of parodic devices to demystify canonical texts: for example, in an incursion across diegetic boundaries, he kills off characters from Victor Hugo's Les Misérables with a few well-aimed swipes from a vast pen.