000			03305nam a22003377a 4500
999			_c56338 _d56338
005			20200226151629.0
008			200127b ||||| |||| 00| 0 eng d
020			_a9780198112785
028			_a:Technical Bureau India Pvt. Ltd _b:E/261, Shastri Nagar Delhi _c:TB1913 _d:10/01/2020
082			_a827.709 WOO
100			_aWood, Marcus
245			_aRadical satire and print culture, 1790-1822 _c/Marcus Wood
260			_aNew York _b : Oxford University Press, _c1994.
300			_axviii, 318 pages _b: illustrations _c; 23 cm
365			_b4236
490			_aOxford English monographs.
505			_a Introduction: The Potatoes Speak for Themselves -- 1. Advertising, Politics, and Parody 1710-1780 -- 2. Eaton, Spence, and Modes of Radical Subversion in the Revolutionary Era -- 3. Radicals and the Law: Blasphemous Libels and the Three Trials of William Hone -- 4. Radical Puffing: Parodic Advertising and Newspapers -- 5. The Political House that Jack Built: Children's Publishing and Political Satire -- Conclusion: Satire, Radicalism, and Radical Romanticism -- Appendix: A Transcription of the Original Manuscript Version of The Late John Wilkes's Catechism of a Ministerial Member.
520			_aWith the publication of Marcus Wood's Radical Satire and Print Culture 1790-1822 there is at last a study that does justice to the work produced collaboratively between 1816 and 1822 by the poet and radical journalist William Hone and the brilliant young graphic artist George Cruikshank. The book provides new ways into the study of radical and Romantic satire. It uncovers hitherto forgotten or unimagined contexts for the work of Hone, Cruikshank, and their contemporaries. Radical satire fused the literary and political inheritance of seventeenth and eighteenth-century satire with the most up-to-date developments in advertising, popular publishing, and the print trade. Wood scrutinizes the complex parodic experiments which resulted, and reveals the satires which proliferated around the Peterloo Massacre and the Queen Caroline affair to evade distinctions between literature and trash, art and advertising, politics and propaganda. The book is also a major contribution to the current debate on relations between satire and parody. Popular satire in the Romantic age emerges as essentially parodic, extending beyond literary travesty to work upon dress codes, social customs, architecture, and the languages of church and law. Radical Satire and Print Culture teaches us that in order to understand the operations of parody we must be as ready to spot a reference to Packwood's celebrated razor strops, or to a Lutheran pornographic woodcut, as to pounce upon an echo from The Rape of the Lock
650			_aLiteratures
650			_a English & Old English
650			_aHone, William, -- 1780-1842 -- Political and social views.
650			_aCruikshank, George, -- 1792-1878
650			_aCruikshank, George, -- (1792-1878) -- Pensée politique et sociale.
650			_aPolitical satire, English -- History and criticism.
650			_aArt and literature -- Great Britain -- History -- 18th century.
650			_aPolitical and social views.
650			_aRadicalism.
650			_aPolitical satire, English.
700			_aWood, Marcus
942			_cBOOK