By Ritu Gairola Khanduri

Caricaturing tradition in India is a hugely unique historical past of political cartoons in India. Drawing at the research of newspaper cartoons because the 1870s, archival examine and interviews with well-liked Indian cartoonists, this formidable learn combines ancient narrative with ethnographic testimony to provide a pioneering account of the function that cartoons have performed over the years in political communique, public discourse and the refraction of beliefs primary to the production of the Indian postcolonial nation. holding that cartoons are greater than illustrative representations of reports, Ritu Gairola Khanduri uncovers the genuine strength of cartoons as a visible medium the place thoughts jostle, heritage is imagined and features of empathy are demarcated. putting the argument inside of a much wider context, this thought-provoking e-book highlights the historical past and gear of print media in debates on unfastened speech and democratic techniques around the globe, revealing why cartoons nonetheless topic this day.

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In India, questioning newspaper cartoons’ humor for its illiberal attitudes serves new public criteria for defining its democracy. This opens up inquiries into democracy, which, as Julia Paley contends for anthropology, is not about making precise definitions, instead it is about “variations associated with the term democracy” and “the way democracy has been conceptualized in public discourse” (Paley 2008, p. 5). Newspaper cartoons generate counter-hegemonic interpretative discourses, which I conceptualize as the small voice of visuality (here I am drawing upon Kamala Visweswaran’s “Small Speeches” (1996)).

21–2). Burton’s nuanced analysis of these tropes referencing women’s history is equally applicable to all peripheral histories. Following this cautionary note, my project in this book is not about recovery and rescue. Instead, in Introduction: the empire of cartoons 29 showing how utterances about cartoons shaped the visual landscape in intricate ways, I demonstrate a way in which visuality can be “imagined and reconsolidated in new historical forms” (p. 22). Cartoon talk Through interactions, interviews, and intensive research in individual and institutional collections, I assembled an ethnographic archive of cartoon talk, creating it jointly with cartoonists, readers, fans, and activists.

Some of their concerns germinated from the fact that several of them were art school graduates. But even those who were not had a perspective on the necessity of draughtmanship as a technique for cartooning. ” Instead, photographs were “highly complex, ‘modern’ attempts to formulate visual identities under specific historical and political conditions” (1997, p. 96). Such queries resonate in this book when discussing “Indian” cartoons and whether cartoons have a linguistic rather than a national and regional identity.

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