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Introduction city. Derlers study raises the guestion of whether photography can at all be used as evidence of social reality. Anna M. Rosners "The Image of the Jewish Street Seller in Nineteenth Century London" studies the representation of Jews in the caricatures of the British press. According to her findings, some stereotypes were universal, others unigue and present only in Britain. In the beginning, the street seller was the main figure. The most universal were those representations that were based on the foreignness of the Jews, their alien tradition, culture, and religion. The Jewish street seller was depicted usually as a stranger, but also as one who does not stand out in the crowd. Later cartoons presented Jewish figures that were difficult to recognize, which, as Rosner argues, reflects the process of their assimilation into British society and culture. Dobrinka Parusheva’s “Bulgarians Gazing at the Balkans: Neighboring People in Bulgarian Political Caricature at the Beginning of the Twentieth Century” closes the chapter. Parusheva focuses on strictly political caricature in Bulgaria, finding her way between opposite perspectives. On one hand, Lawrence Streicher claimed that in the twentieth century, “the news story increasingly ... divorced the narration of events from their meaning” because of the struggle for objective reporting and the importance of the social situation in which caricature appears and the understanding of politics, on which the audience relies. She recalls the approach of the most famous Bulgarian caricaturists according to which the artist has to be well versed in the life of the society. Following this way in the presentation of her data she concludes that political caricature involved mostly current domestic issues, and not problems and disagreements with neighbors. Characteristic to this genre was the use of personified political figures rather than abstract ones, representing nations. Parusheva could also observe a shift in attitudes as changes have become visible in the political context. The sixth and final chapter entitled New Versus Old: Local Responses to a Changing World surveys further smaller registers of everyday life in which visuality played an eminent role and in which a certain kind of Othering occurred. Karla Huebner, in her “Otherness in First Republic Czechoslovak Representations of Women,” studies the nontraditional images of women in the first half of the twentieth century. She has found that the figure of the New Woman has meant something different according to location and time in Czechoslovakia. This seems to have reflected different versions of modernity and nationality in different places and during different periods. Huebner compared various magazines and newspapers published in Czechoslovakia and found that the image of the New Woman was everywhere. She has shown the differences by underlining specific kinds of similarities she has found depending on specific political views (liberal or leftist) or nationality (Czech or Slovak). She has also noticed that the German and Roma women were ignored in the press representations of the period. Eva Krekovi&ovä and Zuzana Panczov, in their “Visual Representations of ‘Self? and ‘Others’: Images of the Traitor and the Enemy in Slovak Political Cartoons, 21
