The musket

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The musket
The musket.jpg
description humorous journal
language German
First edition 1905
attitude 1941
Frequency of publication weekly

The Muskete was a humorous weekly magazine that was published every Thursday from October 5, 1905 in Vienna and appeared until 1941. Adolf Moßbäck was the editor and editor in charge . He described the program direction of the new weekly as follows: “And we want to be Austrian. Local draftsmen, local authors. Austrian we will also remain in our position on the army, to which part of the content is particularly dedicated ... "

Like other humorous magazines founded at the time, “Die Muskete” combined the works of young local artists and draftsmen with the work of young Austrian writers. At the same time, the magazine attached great importance to the artistic design and the high quality of the content.
The magazine was originally intended for officer circles and quickly gained great importance, as the aim was to make it an Austrian counterpart of Simplicissimus , which later made it more widely used and very popular. She fought against excesses in the political, bureaucratic, clerical, military and social areas. During the First World War it developed into a "funny soldier's paper". In 1919 the subtitle "Humorous Weekly" disappeared and the magazine changed from a joke to an illustrated men's magazine.

The magazine in the First World War

During the First World War, the paper behaved loyally to the emperor, the state and the authorities and, in its text and image contributions, agreed with a very convincing patriotism, with the main focus on the “outside” enemy. On the title page of the August 6, 1914 issue, the risen Prince Eugene was shown at the head of the Austro-Hungarian soldiers leading his troops against Belgrade as Reichsmarschall. Instead of a title, the title page only bears the date of the Austro-Hungarian declaration of war on Serbia. From July 1914, a patriotic line dominated, which pushed all other issues into the background. Enemy images were created and designed to make the opponent ridiculous and bestial. As a result, the paper became more and more reader-specific and, during the First World War, changed from the “humorous weekly” to the “funny soldier paper”, and new field post subscriptions were advertised, for example on October 7, 1915: “Send your dear heroes the funny Soldiers' paper 'Die Muskete' into the field! ”The war propaganda was maintained with humorous articles against the enemy and photographs of local soldiers in the field reading their muskets . Evenings for authors who were in the service of the patriotic cause were organized and the proceeds were made available, among other things, to the “War Welfare Office of the Imperial and Royal War Ministry” . The musket campaigned for the subscription of war bonds until the end of the First World War and increasingly defended its war advocacy against pacifist circles.

National stereotypes during the First World War

Serbia

Since Serbia has been identified as the main opponent of Austria-Hungary since the beginning of the First World War, caricatures about Serbia have been represented in the magazine “Die Muskete” from the start.

  • "Serbian Government Principle" in the supplement to the "Musket" on July 9, 1914 with the subtitle: "Remember children: The best way to protect yourself against attacks is to initiate them yourself!"
  • "Sarajewo", title page drawing by Fritz Schönpflug on July 16, 1914 with the subtitle: "We wash our hands in innocence!"

Over the entire duration of the war there are almost 100 caricatures with a Serbian connection, although these are more represented in the first half of the war than in the second. This is due to the fact that at the end of 1915 / beginning of 1916 the campaign against Serbia was considered to have been successfully completed. In the course of the war, the form of portrayal of this enemy changes from a devious, devious assassin to a neglected person without a land.
Serbia is often in the form of a portrait caricature, most frequently in the person of Serbian King I. Peter represented. Other Serbian personalities in the cartoon include Crown Prince Alexander , Prime Minister Nikola Pašić and the elder son Peters, Prince George of Serbia .

Montenegro

As a close ally of Serbia, Montenegro appears in the caricatures from the beginning of the First World War. The Montenegrins and their king Nikola are portrayed as devious Balkan people who only fight when the weather is fine and withdraw when the situation becomes critical. This has its historical background in King Nikolas Flight from the Enemy. In contrast to his Serbian ally Peter I, King Nikola is said to have abandoned his army in early 1916 and fled into exile in Italy with his members of the government.

  • “Montenegrin National Economy”, drawing by Willy Stieborsky on September 17, 1914 with the subtitle: If the people don't have a livelihood, they should at least have some entertainment.
  • “König Ohneland III”, drawing by Willy Stieborsky on January 20, 1916 with the subtitle: All Montenegrin place names in my victory reports are marked by the farmhand: “Cannot be found on the map”. Soon my whole country will not be findable on the map!

Serbia's ally, Montenegro, is not taken seriously due to its poor economic situation.

  • “A proposal”, drawing by Fritz Schönpflug on August 13, 1915 with the subtitle: Montenegro can be overcome by a single Austrian: namely by a well-equipped postal carrier.

Russia

Russia is considered to be one of the most important enemy images, as it is viewed as a Pan-Slavic great power and the big brother of Serbia. Compared to other main enemies of the Austro-Hungarian monarchy, Russia was shown the second most frequently during the war, with almost 300 images. The number fell sharply from 1918 onwards, as Russia withdrew from the war and faced its own revolutionary events.
Russia is portrayed as a country that should not be underestimated because of its size. However, in terms of culture, education, technology and economy, one feels qualitatively superior to the Tsarist Empire and so the ruling class is portrayed as unworldly and naive, but also as unscrupulous and obsessed with power. The common people and soldiers are portrayed as stupid and uncultivated, with a strong tendency towards superstition and alcoholism. A popular form of representation is the "iwan", a farmer who has been forced into a uniform.

  • “Lead casting in St. Petersburg”, drawing by Rudolf Herrmann on December 31, 1914 with the subtitle: On the ground floor and on the first floor.
  • “Russian Discoveries”, drawing by Willy Stieborsky on April 8, 1915 with the subtitle: This is what the shirts look like on these bastards.

France

As a core member of the Entente , France is also portrayed as one of the main enemies from the start, with a wide variety of forms of representation being chosen: the portrait and type caricature, represented by President Raymond Poincaré and Marshal Joseph Joffre ; as a beast and war criminal who murders defenseless and wounded opponents or as a liar and falsifier of history in connection with press reports. The soldier is usually portrayed as a civilian in uniform who prefers a pleasurable, civil life to everyday war life full of privation. The figure of " Marianne " is often used as a typical representative of France.

  • "Mother Marianne.", Drawing by KA Wilke on July 2, 1914 with the subtitle: "I should have seen this grimace somewhere before."
  • "In the name of civilization", drawing by Franz Wacik on September 3, 1914 with the subtitle: "Au nom de la civilization!"
  • "Vision", drawing by Hans Strohofer on October 22, 1914 with the subtitle: "Just don't lose your head, Poincaré."
  • “The unveiled image of Paris”, drawing by Josef v. Divéky on March 30, 1916 with the subtitle: “Woe to him who goes to the truth through guilt! She will never be pleasant to him. "
  • "The situation in France, drawing by Fritz Schönpflug on December 28, 1916 with the subtitle: " Goddam, if the pace slows down, we will not only lose glorious victory, but honorable peace too! "

Since France was also an important colonial power, racist stereotypes are also served by depicting black Africans, either half-naked or in French uniforms, but also as offspring.

  • “Paris 1915.”, drawing by Hans Strohofer on October 8, 1914 with the subtitle: “The war had one good thing. He saved the grande nation from extinction. "
  • "Great Council of War in Paris.", Drawing by KA Wilke on December 16, 1915 with the subtitle:
"But comrade, you're picking your nose!"
"At least something will come of it."

Great Britain

Great Britain, involved in the war since August 1914, is most often the target of ridicule and caricature and thus the main enemy of the Central Powers. England is seen in Austria as militarily, politically and economically superior, but morally far inferior, which will help to victory. The enemy is admired and feared because of his strength and so attempts are made to hide the inferiority by means of moral and ideological values. The sincere and honest character will win. England, by contrast, is shown to be lying and hypocritical. They maintain their position of power by dominating the nations with carrot and stick.

  • “The trainer in need”, drawing by Willy Stieborsky on January 20, 1916 with the subtitle: “Damned! The more dogs I get on a leash, the less respect the pack has for me! "
  • “Dresseur Loyd Georg”, drawing by Rudolf Herrmann on December 28, 1916 with the subtitle: “The critters are good. But you shouldn't put the whip down for a moment. "

The character of " John Bull " represents a powerful and economically potent enemy who functions as the financier of the war and mourns lost money rather than lost human life. John Bull appeared in the musket in the First World War, especially in the final years of the war, when the magazine's certainty of victory was already waning.
The British people are shown to be eager to gamble, gamble and speculate, and who are above all interested in successful business.

  • "John Bull, from different perspectives", drawing by Hans Strohofer on October 29, 1914.
  • “Different viewpoints”, drawing by KA Wilke on August 17, 1916 with the subtitle: “You see, Marianne, that is the difference between you and me: You mourn our children and I mourn the money that they cost me uselessly to have."

In contrast to the beautiful French women, British women are considered ugly and unfeminine, because they are interested in topics that women at the time were not interested in, such as politics, voting rights and women's rights.

  • "The end justifies the means.", Drawing by Josef Danilowatz on June 18, 1914 with the subtitle: "The English government provided Prince Wied with an Amazon bodyguard made up of the most militant suffragettes."
  • "Miss Britannias Gewerbe", drawing by Josef v. Divéky on September 7, 1916 with the subtitle: “Here to be the third Latin sister. Would Mister Kanchukov wish to withdraw now with this one? "

The British are also portrayed as colonial rulers and rulers of the seas, ruling and exploiting other peoples.

  • "From the English blue book.", Drawing by KA Wilke on October 1, 1914 with the subtitle: "After black and yellow troops were fighting on Germany's side, England was forced to take the same measure."
  • "Old-Englands Triarier.", Drawing by Hans Strohofer on October 8, 1914 with the subtitle: "Congo-Ulane on foot. Provisions officer. Upper Gurkha. Howitzer Formaster. Head of the Petroleum Division. "
  • "We savages are better people!", Drawing by Rudolf Herrmann on October 12, 1916 with the subtitle:
"You are always preaching charity to us and killing a thousand times more people than you can eat up."

Belgium

Belgium plays a very subordinate role as an enemy and is hardly perceived as a real threat or danger. It is still a very young and small nation and is predominantly in the form of his I. King Albert shown. Belgium appears as a naive nation that ends in exile and then in occupation, symbolized as a homeless asylum.

  • "In the asylum for homeless majesties", drawing by Franz Wacik on March 16, 1916 with the subtitle:
“What is Toptani looking for, Nikerl? He's king! "
“But shut up, Peter. Is it me ?! "

Japan

Japan appears in the cartoon mostly as an ally of Great Britain and increasingly of the USA and is taken seriously as a threat. In contrast to all the other enemy images, Japan is primarily embodied as an animal, either as a monkey, or as a hybrid, the so-called "half-human". If they appear as humans, then as extremely short stature, but they should not be underestimated, as they are considered to be very disciplined and smart. Since it is a non-European nation, the caricatures do not use national, but rather racist stereotypes.

  • "From the English blue book", drawing by KA Wilke on October 1, 1914 with the subtitle: "After black and yellow troops were fighting on Germany's side, England was forced to take the same measure."
  • "Delphic notice", drawing by KA Wilke on September 5, 1918 with the subtitle:
"And what do you intend to do with the weapons, dear Japs, when Prussian militarism is defeated?"
"I'm looping them again."

Italy

Italy was not there from the start and only joined the Entente and thus the war drive in May 1915. For historical reasons Italy is the number one enemy and is therefore primarily caricatured in the magazine.

  • "L'Italia farà da sè!", Drawing by Willy Stieborsky on June 3, 1915 with the subtitle:
"I am - grant me the shame - the eighth in your gang!"

A popular form of representation is the representation of symbols, such as flags, coats of arms, maps - such as the Italian boot, or the " Stella d'Italia ".

  • "Stella cadente", drawing by Willy Stieborsky on June 15, 1916 with the subtitle:
"Ecco, your Majesty: the Stella_d'Italia falls! Make a quick wish. "
"I wish - I wish - the renewal of the Triple Alliance!"

In the portrait caricature, King Victor Emmanuel III takes a special position and is represented as a joke figure due to his megalomaniac demands, which are in contrast to his small body size.

  • Drawing by KA Wilke on March 2, 1916 with the subtitle: "Katzelmacherkatzenjammer."
  • “Italian weapons”, drawing by Hans Strohofer on March 30, 1916 with the subtitle: “The medical officer diagnosed you with multiple ruptures of the diaphragm. How did you get there? "-" My God - an Italian pilot threw a number of the "Corriere" into our position and I just read it. "

The Italian is portrayed as a vain braggart and a liar, to whom every means is right if he can derive advantages from it. Since he has no loyalty and loyalty, he is considered a cowardly soldier who quickly fled. While England is seen as the main enemy, Italy is considered a favorite enemy, also because of its zest for life, for which he is secretly envied.

Portugal

Portugal appears in the cartoons as a small, insignificant country that has no realpolitical significance and is therefore hardly noticed. Portugal's entry into the war is tied to financial interests rather than moral principles.

  • "Bank of England", drawing by Rudolf Herrmann on April 6, 1916 with the subtitle:
"Dear little Portuguese, just a little more patience - we'll be finished in a minute, and then you'll have the acid test."

Romania

Romania is seen in the caricatures only as a secondary theater of war and is hardly feared. In addition, it is seen as a nation of criminals who are brought up as bribable liars. Romania's soldiers are often depicted as wild and cowardly and Romania's King Ferdinand is presented as a joke because of his protruding ears and because of his reputation as a weak and indulgent ruler.

  • "Rotenturm pass difficulties", drawing by Fritz Schönpflug on October 12, 1916 with the subtitle:
“Al dracului! Breaking in and stealing from others is much easier than breaking through and stealing away "

United States

The USA only gradually appeared as an enemy in the course of the war, but, together with England, they developed into the most popular enemy images of the cartoonists. This has to do with the fact that the US is becoming increasingly involved and only declares war in 1917. They are presented either alone or as a dominant power over the other nations, with the US being presented in the form of " Uncle Sam ". The United States is clearly economically superior and in order to weaken this serious threat, the cultural and moral deficits are contrasted.

  • "American international law", drawing by Carl Josef Pollak on January 27, 1916 with the subtitle:
“No devil knows his way around that, Mister Yankee! Is cotton now banned, or not? "
"Hm, Mister Doodle, it all depends on what prices Germany is willing to pay for cotton."
  • "The war dance around the golden calf.", Drawing by Rudolf Herrmann on May 24, 1917 with the subtitle:
“It is reported from Washington: On the day of the declaration of war, Wilson, Roosevelt & Co. founded a new state religion. A statue of pure gold was erected on the Capitol, the only true deity, culture. The foundation festival went off with tremendous enthusiasm. "

Greece

Greece is hardly seen as an enemy in any direct reference, but rather mentioned in the context of French or British soldiers, whereby classical mythological elements acquire a certain importance. King Constantine I appears most frequently in the portrait caricature . While he is portrayed rather positively, his Prime Minister Venizelos embodies the negative image.

  • “Saloniki”, drawing by Carl Josef Pollak on January 13, 1916 with the subtitle: “I don't understand what the Greeks want. We would be happy if the English treated us only half as well in Calais. "
  • "Diogenes Skuludis", drawing by Rudolf Herrmann on March 9, 1916 with the subtitle:
"Do you have a wish, my dear?"
"If I may ask: Get out of the sun!"
  • "O ancient Greek glory!", Drawing by Willy Stieborsky on June 29, 1916 with the subtitle: "- - And Homer's sun, see, it laughs at you!"

Humorous magazines in the First World War

literature

  • Murray G. Hall et al. a .: The musket. Cultural and social history in the mirror of a satirical and humorous magazine 1905–1941. Edition Tusch, Vienna 1983, ISBN 3-85063-137-0 .
  • Gudrun Exner: Caricatures as sources of historical stereotype research. The English stereotype in the "musket" in World War caricatures . Thesis. University of Vienna, 1995.
  • Christian Markus Köhler: Enemy images. National stereotypes in caricatures at the time of the First World War using the example of the humorous weekly “Die Muskete” . Thesis . University of Vienna, 2008.

Individual evidence

  1. ↑ anno.onb.ac.at
  2. ↑ Reichspost. XII. Vol., No. 228, January 6, 1905, p. 4.
  3. ↑ Murray G. Hall et al. a .: The musket. Cultural and social history in the mirror of a satirical and humorous magazine 1905–1941. Edition Tusch, Vienna 1983, ISBN 3-85063-137-0 .
  4. ↑ drawing of KAWilke. In:  Die Muskete , August 6, 1914, p. 1 (online at ANNO ).Template: ANNO / Maintenance / mus
  5. ↑ The musket into the field! In:  Die Muskete , October 7, 1915, p. 9 (online at ANNO ).Template: ANNO / Maintenance / mus
  6. ↑ The "Muskete" in the field .. In:  Die Muskete , February 24, 1916, p. 10 (online at ANNO ).Template: ANNO / Maintenance / mus
  7. ↑ Murray G. Hall et al. a .: The musket. Cultural and social history in the mirror of a satirical and humorous magazine 1905–1941. Edition Tusch, Vienna 1983, p. 13.
  8. ^ Serbian government principle. In:  Die Muskete , July 9, 1914, p. 9 (online at ANNO ).Template: ANNO / Maintenance / mus
  9. ^ Drawing by Fritz Schönpflug. In:  Die Muskete , July 16, 1914, p. 1 (online at ANNO ).Template: ANNO / Maintenance / mus
  10. ^ Christian Markus Köhler: Enemy images. National stereotypes in caricatures at the time of the First World War using the example of the humorous weekly Die Muskete. Thesis. University of Vienna, 2008, p. 133.
  11. ^ Drawing by Willy Stieborsky. In:  Die Muskete , September 17, 1914, p. 8 (online at ANNO ).Template: ANNO / Maintenance / mus
  12. ^ Drawing by Willy Stieborsky. In:  Die Muskete , January 20, 1916, p. 9 (online at ANNO ).Template: ANNO / Maintenance / mus
  13. ^ Drawing by Fritz Schönpflug. In:  Die Muskete , August 13, 1914, p. 4 (online at ANNO ).Template: ANNO / Maintenance / mus
  14. ^ Christian Markus Köhler: Enemy images. National stereotypes in caricatures at the time of the First World War using the example of the humorous weekly Die Muskete. Thesis. University of Vienna, 2008, p. 144.
  15. ^ Christian Markus Köhler: Enemy images. National stereotypes in caricatures at the time of the First World War using the example of the humorous weekly Die Muskete. Thesis. University of Vienna, 2008, p. 162.
  16. ↑ Drawing by Rudolf Herrmann. In:  Die Muskete , December 31, 1914, p. 3 (online at ANNO ).Template: ANNO / Maintenance / mus
  17. ^ Drawing by Willy Stieborsky. In:  Die Muskete , April 8, 1915, p. 5 (online at ANNO ).Template: ANNO / Maintenance / mus
  18. ^ Christian Markus Köhler: Enemy images. National stereotypes in caricatures at the time of the First World War using the example of the humorous weekly Die Muskete. Thesis. University of Vienna, 2008, p. 182.
  19. ^ Drawing by KA Wilke. In:  Die Muskete , July 2, 1914, p. 1 (online at ANNO ).Template: ANNO / Maintenance / mus
  20. ^ Drawing by Franz Wacik. In:  Die Muskete , September 3, 1914, p. 8 (online at ANNO ).Template: ANNO / Maintenance / mus
  21. ↑ Drawing by Hans Strohofer. In:  Die Muskete , October 22, 1914, p. 8 (online at ANNO ).Template: ANNO / Maintenance / mus
  22. ↑ Drawing by Josef v. Divéky. In:  Die Muskete , March 30, 1916, p. 8 (online at ANNO ).Template: ANNO / Maintenance / mus
  23. ^ Drawing by Fritz Schönpflug. In:  Die Muskete , December 28, 1916, p. 5 (online at ANNO ).Template: ANNO / Maintenance / mus
  24. ^ Christian Markus Köhler: Enemy images. National stereotypes in caricatures at the time of the First World War using the example of the humorous weekly Die Muskete. Thesis. University of Vienna, 2008, p. 183.
  25. ↑ Drawing by Hans Strohofer. In:  Die Muskete , October 8, 1914, p. 6 (online at ANNO ).Template: ANNO / Maintenance / mus
  26. ^ Drawing by KA Wilke. In:  Die Muskete , December 16, 1915, p. 1 (online at ANNO ).Template: ANNO / Maintenance / mus
  27. ^ Christian Markus Köhler: Enemy images. National stereotypes in caricatures at the time of the First World War using the example of the humorous weekly Die Muskete. Thesis. University of Vienna, 2008, p. 193.
  28. ^ Drawing by Willy Stieborsky. In:  Die Muskete , January 20, 1916, p. 5 (online at ANNO ).Template: ANNO / Maintenance / mus
  29. ↑ Drawing by Rudolf Herrmann. In:  Die Muskete , December 28, 1916, p. 8 (online at ANNO ).Template: ANNO / Maintenance / mus
  30. ^ Gudrun Exner: Caricatures as sources of historical stereotype research. The English stereotype in the caricatures of the "musket" in World War I. Thesis. University of Vienna, 1995, p. 89.
  31. ^ A b c Christian Markus Köhler: Feindbilder. National stereotypes in caricatures at the time of the First World War using the example of the humorous weekly Die Muskete. Thesis. University of Vienna, 2008, pp. 193–207.
  32. ↑ Drawing by Hans Strohofer. In:  Die Muskete , October 29, 1914, p. 5 (online at ANNO ).Template: ANNO / Maintenance / mus
  33. ^ Drawing by KA Wilke. In:  Die Muskete , August 17, 1916, p. 1 (online at ANNO ).Template: ANNO / Maintenance / mus
  34. ↑ Drawing by Josef Danilowatz. In:  Die Muskete , June 18, 1914, p. 1 (online at ANNO ).Template: ANNO / Maintenance / mus
  35. ↑ Drawing by Josef v. Divéky. In:  Die Muskete , September 7, 1916, p. 1 (online at ANNO ).Template: ANNO / Maintenance / mus
  36. ^ Drawing by KA Wilke. In:  Die Muskete , October 1, 1914, p. 1 (online at ANNO ).Template: ANNO / Maintenance / mus
  37. ↑ Drawing by Hans Strohofer. In:  Die Muskete , October 8, 1914, p. 6 (online at ANNO ).Template: ANNO / Maintenance / mus
  38. ↑ Drawing by Rudolf Herrmann. In:  Die Muskete , October 12, 1916, p. 8 (online at ANNO ).Template: ANNO / Maintenance / mus
  39. ^ Christian Markus Köhler: Enemy images. National stereotypes in caricatures at the time of the First World War using the example of the humorous weekly Die Muskete. Thesis. University of Vienna, 2008, pp. 213–214.
  40. ^ Drawing by Franz Wacik. In:  Die Muskete , March 16, 1916, p. 6 (online at ANNO ).Template: ANNO / Maintenance / mus
  41. ^ Christian Markus Köhler: Enemy images. National stereotypes in caricatures at the time of the First World War using the example of the humorous weekly Die Muskete. Thesis. University of Vienna, 2008, p. 222.
  42. ^ Drawing by KA Wilke. In:  Die Muskete , October 1, 1914, p. 1 (online at ANNO ).Template: ANNO / Maintenance / mus
  43. ^ Drawing by KA Wilke. In:  Die Muskete , September 5, 1918, p. 4 (online at ANNO ).Template: ANNO / Maintenance / mus
  44. ↑ a b c d Christian Markus Köhler: Feindbilder. National stereotypes in caricatures at the time of the First World War using the example of the humorous weekly Die Muskete. Thesis. University of Vienna, 2008, pp. 245–247.
  45. ^ Drawing by Willy Stieborsky. In:  Die Muskete , June 3, 1915, p. 1 (online at ANNO ).Template: ANNO / Maintenance / mus
  46. ^ Drawing by Willy Stieborsky. In:  Die Muskete , June 15, 1916, p. 7 (online at ANNO ).Template: ANNO / Maintenance / mus
  47. ^ Drawing by KA Wilke. In:  Die Muskete , March 2, 1916, p. 1 (online at ANNO ).Template: ANNO / Maintenance / mus
  48. ↑ Drawing by Hans Strohofer. In:  Die Muskete , March 30, 1916, p. 6 (online at ANNO ).Template: ANNO / Maintenance / mus
  49. ^ Christian Markus Köhler: Enemy images. National stereotypes in caricatures at the time of the First World War using the example of the humorous weekly Die Muskete. Thesis. University of Vienna, 2008, pp. 252–253.
  50. ↑ Drawing by Rudolf Herrmann. In:  Die Muskete , April 6, 1916, p. 8 (online at ANNO ).Template: ANNO / Maintenance / mus
  51. ^ Christian Markus Köhler: Enemy images. National stereotypes in caricatures at the time of the First World War using the example of the humorous weekly Die Muskete. Thesis. University of Vienna, 2008, pp. 260–261.
  52. ^ Drawing by Fritz Schönpflug. In:  Die Muskete , October 12, 1916, p. 1 (online at ANNO ).Template: ANNO / Maintenance / mus
  53. ^ Christian Markus Köhler: Enemy images. National stereotypes in caricatures at the time of the First World War using the example of the humorous weekly Die Muskete. Thesis. University of Vienna, 2008, pp. 281–282.
  54. ↑ Drawing by Carl Josef Pollak. In:  Die Muskete , January 27, 1916, p. 1 (online at ANNO ).Template: ANNO / Maintenance / mus
  55. ↑ Drawing by Rudolf Herrmann. In:  Die Muskete , May 24, 1917, p. 5 (online at ANNO ).Template: ANNO / Maintenance / mus
  56. ^ Christian Markus Köhler: Enemy images. National stereotypes in caricatures at the time of the First World War using the example of the humorous weekly Die Muskete. Thesis. University of Vienna, 2008, pp. 289–290.
  57. ↑ Drawing by Carl Josef Pollak. In:  Die Muskete , January 13, 1916, p. 1 (online at ANNO ).Template: ANNO / Maintenance / mus
  58. ↑ Drawing by Rudolf Herrmann. In:  Die Muskete , March 9, 1916, p. 1 (online at ANNO ).Template: ANNO / Maintenance / mus
  59. ^ Drawing by Willy Stieborsk. In:  Die Muskete , June 29, 1916, p. 8 (online at ANNO ).Template: ANNO / Maintenance / mus

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