Contents

pp v-vi

List of figures

pp vii-xv

List of contributors

pp xvi-xx

Acknowledgements

pp xxi-xxii

1 - Introduction: The importance of cartoons, caricature, and satirical art in imperial contexts

pp 1-28

Part I - High imperialism and colonialism

pp 29-30

2 - Courting the colonies: Linley Sambourne, Punch, and imperial allegory

pp 31-65

3 - ‘Master Jonathan’ in Cuba: A case study in colonial <italic>Bildungskarikatur</italic>

pp 66-91

4 - ‘The international Siamese twins’: The iconography of Anglo-American inter-imperialism

pp 92-133

5 - ‘“Every dog” (no distinction of color) “has his day”’: Thomas Nast and the colonisation of the American West

pp 134-158

Part II - The critique of empire and the context of decolonisation

pp 159-160

6 - The making of harmony and war, from New Year Prints to propaganda cartoons during China’s Second Sino-Japanese War

pp 161-191

7 - David Low and India

pp 192-215

8 - Between imagined and ‘real’: Sarukhan’s al-Masri Effendi cartoons in the first half of the 1930s

pp 216-241

9 - The iconography of decolonisation in the cartoons of the Suez Crisis, 1956

pp 242-276

10 - Punch and the Cyprus emergency, 1955–1959

pp 277-302

Part III - Ambiguities of empire

pp 303-304

11 - Outrage and imperialism, confusion and indifference: Punch and the Armenian massacres of 1894–1896

pp 305-333

12 - Ambiguities in the fight waged by the socialist satirical review <italic>Der Wahre Jacob</italic> against militarism and imperialism

pp 334-361

13 - The ‘confounded socialists’ and the ‘Commonwealth Co-operative Society’: Cartoons and British imperialism during the Attlee Labour government

pp 362-392

14 - Australian cartoonists at the end of empire: No more ‘Australia for the White Man’

pp 393-425

Index

pp 426-430